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Arlene Corwin’s Poetry

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Archive for the ‘biography’ Category

Arlene Corwin’s Open-Ended Biography

January 14, 2009

Arlene Corwin’s Open-Ended Biography

(10.3.2007 updated 10.24.2007 updated 1.3.2008; updated December 15, 2009)

Arlene Corwin (born Arlene Faith Nover) is an American jazz singer and pianist, poet, teacher and practitioner of Yoga. Born November 8, 1934 in the Williamsburg Maternity Hospital, Brooklyn, New York. She has two children. Jonathan Eric Corwin (born July 24. 1956 and) Jennifer Nover Council (born February 2, 1964). Mother Margy Lillian (born Brown). Father Albert S. Nover. Both were hairdressers, owning a beauty salon together. Everyone was musical on both sides of the family. Mother sang, could play some piano. Father was a gifted sculptor and wood carver, played a little harmonica and mandolin.

Early Life

Started studying piano age 8. Studied voice at the famous 1650 Broadway with ‘coach’ Matty Levine. Did a little recording at aged 10 in Nola Studios. (The record has since disappeared) At 12 she started studying harp with Meyer Rosen (Julliard and NBC Orchestra) and the occasional piano lesson with an NBC pianist who taught her how to read chord changes, seeing at once that she was not interested in learning classical piano.

As a child she had already sung at weddings, bar mitzvahs and for the USO, raising bonds for the war effort. At 13, having a boyfriend who played the saxophone and who listened to Symphony Sid, jazz disc jockey whose late night show originated from Birdland, she awakened to jazz, listening to the late night show “under my blanket”. “A turning point”, she says. (Well before “Lullaby of Birdland” was put to words Arlene had written a lyric of her own – a lyric she still sings today) At 14,she was playing for a dancing school once a week. Then she got an accidental job (“slipping in on a banana peel when the singer got sick”) in a Brooklyn nightclub singing with a group. “Mom and dad chaperoned, of course”.

1950s 

She began to sing regularly when again, out of the blue, an agent rang offering a job for a hundred dollars a week to play at the Mayflower Hotel in Manhattan. It was a restaurant owned by Bob Olin, a former light heavyweight world champion. “I was so naïve I played the whole evening without ever taking a break. Who knew about breaks? Why they kept me I’ve no idea.” But they did and the steady salary of $100.00 a week (which she gave directly to her mother, any other choice never occurring to her) and the experience of having to make a varied program led to her singing to the piano, and eventually to playing to the singing. At this time she was still in high school as attending the prestigious High School of Music & Art as a harpist.She graduated from Music & Art getting a scholarship to Hofstra College as a music major.

Then in 1952, while still at Hofstra College (now university), she was playing on the weekends in a Hempstead, Long Island nightclub-restaurant when Slim Gaillard, who’d come to see Jack Teagarden (also working there) began to take notice of her. He started showing up regularly. There he met Arlene’s mother Margy, and the two eventually opened a jazz nightclub, the first to cater to blacks and whites. It was called The Turf and it, like Birdland had its own radio show, for which Arlene wrote the theme song “The Slim Gaillard Show”. Now she was standing as well as sitting, getting a chance to sit in and sing as often as she chose. The die was cast. It was jazz, cool jazz.

Early Influences

In 1954, on the day she ought to have been attending her college graduation, she married Bob Corwin, a 21-year-old jazz pianist with the Don Elliot Quartet. Because Bob toured, Arlene began her new stage of education: listening to Don’s group while they played on the same bill as the jazz greats of the 50’s. There was Helen Merrill at George Wein’s Storyville in Boston, Terry Gibbs and Illinois Jacquet in Detroit, Bill Evans, Cy Coleman, Bernard Peiffer, Tal Farlowe,Johnny Smith John Mehagan and Billy Taylor (who had also performed at the Turf) at the sophisticated Composer in Manhattan. ” It was also a chance to see and listen to other singers of the day. New York was marvelous in those days. I saw Peggy Lee at Basin Street, Blossom Dearie at Trudy’s in the village, Oscar Peterson, Marian McPartland at the Hickory House, Sheila Jordan, Morgana King. It was THE university for me. I was introduced to Tony Fruscella, the tragic, unsung genius of the trumpet, ‘who I took on my gigs, but to whom I was actually the apprentice’ – and through Tony to Morgana King and Beverly Getz, the talented [and equally tragic] wife of Stan Getz. I feel blessed to have experienced jazz at that time. The guys would gossip about who played ‘behind’ or ‘ahead’ of the beat, bass lines, good changes, bad changes. No Music & Art or Hofstra did that. I learned almost the whole of what is now called The American Songbook. And I, I was sounding like Sarah Vaughn with a little voice.”

Hanging Around Manhattan; Not This, Not That…

Living in New York, and looking for a niche she spent time, as other musicians did, at the Musicians Union Local 802 or Charlie’s Tavern where jobs could show up. In this way, there were weeks and weekends away with big bands: Tommy Dorsey’s Orchestra under the leadership of Warren Covington, Claude Thornhill and Larry Sonn.

“When you hang around New York all kinds of opportunities show up”. And so, she got a leading role in a B film called “Jukebox Racket’, wrote the score for another B film called, at the time “She Should Have Stayed In Bed”, later to be called ‘1,000 Shapes Of A Female: see IDMB (the company, called Exploit Films was owned by Errol Flynn “tall, big in every way, veins on his face, but exuding old world charm” He was quite, quite overwhelming.”

Then there was a bit part in John Cassavetes “Shadows”, followed by the lead in what has become a cult ‘beat’ musical called “The Nervous Set” by Fran and Jay Landesman where she introduced the now-standards “Spring Can Really Hang You Up The Most and “Ballad Of The Sad Young Men”, both subsequently recorded by Ella Fitzgerald, Shirley Bassey and numberless major artists. She studied acting with Joshua Shelley. “It was a time to find out who and what I was. “I was definitely not an actress. I was too introverted and none of those clothes fit” she says.

More Influences and more Not This, Not That…

In 1959 she met Johnny Burke (Burke & Van Heusen) who took her under his wing, taking her to Hollywood to demonstrate his show “Donnybrook” for Rosalind Russell and husband, producer Frederick Brisson “It was a glitzy time. I stayed at Bob Hope’s house in Palm Springs, met Frank Sinatra and his then fiancee Juliet Prowse, Jerry Lewis, Marlene Deitrich, had my own suite in Las Vegas , traveled first class, but was so introverted I always kept to myself, never saying much, definitely not participating in any of these scenes. Those clothes didn’t fit either.”

All the while she returned to the intimacy of New York supper clubs. They were the bottom line, singing and playing.

It was during the supper club period, she met Al Weissman who became her manager. She was signed to the Joe Glazer Agency and began to tour with her own trio. “Wherever I went they’d say, “You know, there’s just been a girl here who sounds like you. Her name was Barbra something. I suppose we had Brooklyn Jewishness in common. ” (She too was signed with Glazer.)

Although published by Frank Publishing (owned by composer Frank Loesser) years later she asked for the songs back because “nothing happened.” “It was a period of promise, a period I was not equipped to fulfill”.

1960s-1970s

In 1962 it was back to Hollywood with Al Weissman and high hopes. “I had some jobs, but never in my genre.” Back to New York. A little jaunt of songwriting with singer Dick Haymes. A short marriage of four months to Richard Robin Palmer.

Greece, Lebanon, Greece, Oxford – Yoga & Jazz

In 1966, by way of Paris, Greece (where she and husband Jim Council were neighbors with Leonard Cohen and Marianne) and Lebanon, “where I actually managed to do some television, singing jazz”, she settled in Oxford, England for the next 18 years, teaching yoga,(“lectured and demonstrated in what must have been a hundred Women’s Insitutes, posed for one of the very first health magazines called Health & Fitness, wrote articles on nutrition, had a weekly radio spot on a little radio show for BBB Oxford actually doing Yoga on radio while describing each pose with a microphone up my nose, did a tape on meditation – it was a lot of Yoga”) and singing and playing, being voted Best Jazz Singer in the Midlands 1972, appearing at Ronnie Scott’s three times. She did 3 television shows; a late night BBC jazz show called “In The Cool Of The Evening”, radio for BBC overseas, was invited over to Amsterdam to do Dutch radio, sang at universities around England, (“one night opposite Pink Floyd, “who were just starting out, I suppose”), the American air bases.

She appeared several times at The Stables in Wavendon (run by John Dankworth – now Sir John Dankworth – and Cleo Laine -now Dame Cleo Laine – while at the same time giving weekly yoga lessons to a group there, (which included Dame Cleo – “a wonderful

yogin”). The Wavendon All-Music Plan, later known simply as WAP “was the most stimulating and original enterprise I’ve ever encountered, pairing all kinds of musical genre. I even played on the same bill as Vladimir Ashkenazy.”

Starting in 1969 and all during the 70’s fate gave a push to the yoga side of things and Arlene was teaching yoga classes in doctor’s offices for hyper-tense, cardiac and overweight men. teaching regularly at conferences for IBM. She gave demonstrations, lectured all over for the Women’s Institute, posed and wrote for Health and Fitness Magazine (summer issue 1982) a book called The New Manual Of Yoga by Karen Ross (1973) wrote articles on nutrition, made a cassette called This Is Meditation. It was a full double life with Yoga taking half the time and singing the other half.

1980s to now.

In 1983 she once again ran into Slim Gaillard – this time in London. He asked her to appear on a television show he was producing that was to star himself, Kai Winding and Wayne Shorter. It was the last appearance she ever made in England.In 1984, finding Sweden fertile ground for singer/pianists, and meeting and falling in love with Kent Anderson, she moved to Sweden where she lives until today, performing, and writing regularly for “Live With Good Intentions” an online magazine.

Still growing, still changing

The latest news – 2009 and 25 years later, aged 75: a cd of her own songs for Imogen Records produced by George Reece, a concert of Johnny Mercer to commemorate his 100th birthday, poetry grown to 2000 poems (see Arlene Corwin Poetry).

2009 finds her favorite project on Google called Arlene Corwin’s Poetry, a project that started in 1949 or about 2,000 poems ago.

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               Five Minutes Of This, Ten Minutes Of That

Five minutes on my head,

Five minutes with the bird.

Five minutes doing crunches.

Five to dust whatever’s there.

When counting up the fives and tens,

The day’s been spun

And lot’s been done:

Three meals made,

The dishes washed,

A song been played,

The cat been fed,

Phrases worked,

A poem started

Computer sited…

Each a center,

Filled, full freedom.

© Five Minutes Of This 12.3.2009 Definitely Didactic;  Arlene Corwin

           Out Of Nothing Something

You’re planning to put out a book.

Uncertain, insecure,

It is your trial run –

Experiment you hope succeeds

(the meaning of ‘succeeds’: what is it?)

Will it influence, teach, help?

Preface in your head, you write a thousand times.

Prelude, prologue. It defends. It justifies.

Volume thick?

(who wants to read a thousand poems?)

To show that out of nothing came

a something; empty-headed at the start,

You want to show development, an evolution.

At the base is vanity.

Which of us wants to admit

That Solomon was right.

At the base of publication

Is a fight. And so you’re writing

And deciding.

There is one thing that you know:

Out of nothing came a something.

That alone seems worth the dare.

© Out Of Nothing Something 12.14.2009Circling Round Vanities; The Processes: Creative, Thinking, Meditative;

Arlene Corwin

               Yuri’s Day

There’s a conifer called Kauri

(rhymes with Yuri)

growing only

In New Zealand.

Finished up – old business; name

On everybody’s lips.

Tonight, you trip

The lights fantastic: your day to sparkle.

Afterwards,

The spark will follow.

You’ll pursue your dreaming glow.

Today, tonight a past

Is winding up.

After, time will find

Your groove:

Your cosmic groove

To prove your worth.

Who knows? You may save the earth

Single-handed.

©Yuri’s Day 6.6.2008

Special People, Special Occasions;

Arlene Corwin

Smack in the middle

Of a sentence

Or a dance

Is blessed – I think;

Light to darkness in a wink,

Then on to who-knows-where?

It’s best to get your issues cleared

Long, long before.

Though never knowing where you’re going,

Never lingering

Sounds grand. Be glad

When hearing about he or she

Who went quick-quick.

For your and everybody’s sake,

Make ready.

Arlene Corwin

               A la Jane Austin

I understand the modern man

I understand a la Jane Austin.

I know his concentration

Needs more snippets than long episodes,

His mental station gone awry.

I know the reason why, and I

Take heed, belonging to this restless breed.

I have a sense of when to stop.

Not stooping to the popular,

Since instincts tell me ‘when’,

And by the time the pen

Has filled A4,

I’d better not have one word more;

The mind-throat must be stilled.

The one-page reader won’t turn over.

Paradoxically, he’s buying longer books then ever.

The novella’s gone to hell, as well as

Rhyme and metered time.

Did I say I understood it,

This phenomenon modern?

I’m part of it. I know that much.

I am in touch with modern mind –

The search to find a higher truth,

Ponce de Leon’s search for youth,

The need for speed as well as silence.

I am there to understand the head and tail,

The ego frail, its longing for a holy grail.

I understand the hand that writes

To finish when A4 runs out.

A discipline from doubt or drought

That comes from having modern man’s eternal heart.

©A la Jane Austin 8.6.2002/3.16.2004/11.4.2005/2006

Our Times, Our Culture; The Processes: Creative, Thinking, Meditative;

Arlene Corwin

           It Is A Fear, I Know

It is a fear, I know –

A way of handling sickness unto death:

“I always wanted to lose weight

And wear a wig.”

A line. A throwaway;

A kind of superstition.

If I say it, it won’t happen –

And it hasn’t happened yet.

My threatened conscious keeps preparing,

Frightened, daring –

Daring fate/daring-bold.

Hate the notion -

Keeping destiny on hold

with joke.

It’s all about acceptance –

That’s what it is all about.

It is a fear, I know.

© It Is A Fear, I Know 1.15.2008

Birth, Death & In Between; I is Always You Is We; A Sense Of The Ridiculous;

Arlene Corwin

            I Call You You

I call you You

Because I have and need to,

You are not a You

But It,

And yet,

I am not ready for

A God non-living

And must think of you as loving.

With a light that’s always on

I ought to let you in.

I’m not prepared,

The Highest much too far away

And threatening,

And scary.

© I Call You You 5.23.2009God Book; To The Child Mystic;

Arlene Corwin

           Finding Yourself Is An Alphabetic Answer #2

Finding yourself is

An alphabetic answer:

Beginning beatification,

Continuing clarification,

A dance with dualism,

Existential experience,

Falling to fruitfulness,

Grading your gifts,

Honing your honesty,

Idealism to iconoclasm,

Joining of Jack and Jill,

Kindling kindness,

Leaning to love,

Milking the mind,

Not this/that but now,

Ownerless owning,

Power in purity,

Questioning,

Reminding and remaining,

Sticking to sense,

Taming and trying,

Utilizing your urges,

Venturing into vegetarianism,

Wrestling with wrong,

Xenophilic,

Zenlike zest.

© Finding Yourself Is 4.18.2009A Sense Of The Ridiculous; Circling Round Reality;

I Is Always You Is We; To The Child Mystic;

Arlene Corwin

           Every Little Bit Helps #2

Always in transition,

If phases of the phrases

Fall into cliches,

Today’s cliché: ‘every little bit’

Assists the push’,

Meaning that there is no rush.

Sitting up in bed, (bookcase beside)

Pressing arm against a shelf:

A tricep boosted,

Fat reduced –

The whole a little tighter,

And a lighter

Day for me.

See?

©Every Little Bit Helps #2 9.15.2009Circling Round Energy; I Is Always You Is We;

Arlene Corwin