April 26, 2008


Shukura Zuwena Huggins, better known in the poetry world as Prahduct, and often referred to by family and friends as “Ku”, born June 20, 1988, is a native of Omaha, Nebraska. Born and raised in the heart of the Midwest, Prahduct found her love for writing, very early on, and in particular that love transformed into a passion for poetry. Prahduct began seriously writing her thoughts and ideas in the form of poetry, prose, and song during her freshmen year in high school in 2002. Always marked by creativity, Prahduct added along with her skill in visual arts, the art of written word. Writing, soon led to performance art and an interest in the spoken word movement.

The name Prahduct has several meanings to this young poet, she states “the name Prahduct kind of just stuck.” It started out as an online screen name, productoftha88, and other poets just started calling her “Product.” While making a new account to a blog website she had to alter the spelling in order to avoid a duplication of another screen name. “The name Prahduct is simply a reminder that everything I’m doing is not because I am who I am, but rather because I’m a product of those who’ve come before me and are here right now.”

Prahduct credits her involvement in the spoken word movement to a poetry workshop she attended in high school along with the Alive Poet’s Society, an online interest group that led her to a plethora of poets and writers that constantly encouraged her to continue her writing and expand, and the continued support and encouragement from family and friends. From there she became associated with an online poetry group, Po3tic Voices, moderated by Truth Theory, which uses multiply.com as a venue for spoken word artists to share recorded pieces and written works and also the Spoken Truth network which connects poets and listeners from everywhere through Blog Talk Radio, to involve in progressive talk shows as well as music and poetry as a form of “edutainment”.

Being known as the “quiet kid” Prahduct still finds it unbelievable to know she has found a voice through spoken word poetry and in return has performed at the 30th and 31st Midwest Regional Youth Conference, Black August Omaha 2007, and several other open mic venues. Prahduct has had the great opportunity to work along with poets and artists such as, Truth Theory, Staci Dennis, God’s Gift, and Nique.

Prahduct uses many things as subject matter, her poems usually include an array of word play and metaphoric parallels; she particularly enjoys writing social poems as well as love poems, but feels that it’s good to be able to touch on all aspects of life through poetry because poetry is life and doesn’t have to be done one way. The incorporation of song and poetry is also something Prahduct likes to include in her writing and performance. Blending the rhythms of spoken word and the melodies of song are two ingredients that make a piece enjoyable to perform.

Now, that Prahduct, as she puts it, “has been tied down to this here poetry thing,” she plans to continue to write, perform, and record her art because it is truly something that has proved to be a blessing in her life; allowing self growth, networking opportunities, and a positive impact on listeners. Being tagged the “Prada of Prose”, Prahduct plans to publish her work and continue to hone her skills. Prahduct is currently working on establishing a Poetry Movement with the X Poetry CommUNITY in the Omaha area that will provide a venue for art to be displayed on a continuous basis, providing a place for cultural development and exposure to the Omaha community.

When asked about the relationship between Jazz and Poetry and the importance of each to our culture she responded;

"Jazz and poetry both act as tools that tell a story. They create an image with qualities as simple as the way you say a word or hit a note and that goes on to not only be a word or a sound but a story. Words can be said one way and then said another and two totally different messages are delivered the same exists among jazz. I think both poetry and jazz are very influential as creative, educational, and informative tools that are not only meant to entertain but educate as well which are important in our communities and the contribution to our culture locally and universally."

Most of all Prahduct wants people to know that poetry is universal and that we all play a part in its presence being felt, no matter if we’re performers, writers, supporters, or listeners, the movement is here and WE are the movers and shakers.

PRAHDUCT is what I consider one of the "Young Lionesses" of Poetry. Be on the lookout for more of this fantastic young woman!

April 25, 2008


Because of his crossover work, Herbie Hancock is one of the more famous jazz musicians in history, second to only Miles Davis from 1960-present. Hancock had 11 albums chart during the '70s and 17 between 1973 and 1984, including three in 1974, figures that puts him well ahead of any other jazz musician in the '70s and beyond. He is also one of the finest eclectics in jazz history, playing free jazz, jazz-rock fusion, bebop, fun, hip-hop, dance, world fusion, and instrumental pop.

Herbert Jeffrey Hancock was born on April 12, 1940 in Chicago. He was a child prodigy and began studying classical piano at the age of seven. At 11, he performed the first movement of a Mozart concerto with the Chicago Symphony Orchestra. In high school, he moved to jazz, where he formed his own ensemble. By the time he had graduated college, he had worked in Chicago jazz clubs with such famous players as Donald Byrd and Coleman Hawkins. Hancock joined Byrd's quintet and moved to New York.

During this time, Hancock was beginning to develop his unique style - a lyrical style that blends gospel, bebop, and blues. While recording with Byrd, he was offered a contract as a leader with Blue Note Records. He recorded his first record in May of 1962. His supporting group included Dexter Gordon and Freddie Hubbard. His song "Watermelon Man" from that record became something of a hit.

Shortly after he joined Miles Davis legendary 1960s quintet and along with Tony Williams and Ron Carter, formed the rhythm section that allowed the Davis quintet to explore with a more flexible/less fixed music.

After playing five years with Davis, he left and formed a sextet that merged many different styles, such as jazz, rock, and African and Indian influences, but with an electric sound. After disbanding the sextet because of limited financial success (though they were an artistic success). In 1973, he formed The Headhunters, a group that merged funk, rock, and instrumental pop. They scored a very successful crossover with the album Headhunters. Afterward, he started playing more pop music, although he did a series of acoustic concerts with Chick Corea. During this time, he underwent heavy criticism for "selling out," and Hancock repeatedly defended his right to play other kinds of music.

During the 1980s, Hancock alternated between electric and acoustic music. He scored another big hit in 1983 with the song "Rockit", which utilized hip-hop (well ahead of its time) and heavy scratching. He received much airplay on MTV with his video. He spent the next two years performing traditional jazz music and won an Oscar for his score in the film Round Midnight. He collaborated with African musician Foday Musa Suso for a duet album. He hosted a variety show on Showtime and performed and lectured on public television.

Herbie Hancock continues to perform and record today.

April 12, 2008


Keith Edward Elam better known as GURU, was born on July 17, 1966 in Boston Massachusetts. He is the lyrical half of legendary hip-hop group Gang Starr together with DJ Premier. With his Jazzmatazz series, he is also considered to be one of the pioneers of hiphop/jazz crossover. The name Guru is an acronym for "Gifted Unlimited Rhymes Universal"

Founded in 1987, Gang Starr built a sizable following in the early 90's, releasing classic albums like, Step in the Arena (1991) and Daily Operation (1992). Guru's lyrical style is based on battle rhymes delivered smoothly, modestly, and with sly wit; he typically avoids using overwhelming charisma, focusing instead on his rhyming ability. His formidable skills on the mic, has earned him legions of admirers.

In 1993, he released his first solo album, Jazzmatazz, Vol. 1 The album featured collaborations with Donald Byrd, N'Dea Davenport of the Brand New Heavies and Roy Ayers, while his second LP, Jazzmatazz, Vol. 2: The New Reality, featured Ramsey Lewis, Branford Marsalis and Jamiroquai. The Jazzmatazz albums are commonly considered some of the best rap of the early 90s, Guru's reputation was also bolstered through the continued success of Jazzmatazz, Vol. 3: Street soul (2000)
His "first proper solo album", in his own words, was Version 7.0: The Street Scriptures (2005), released with the help of super producer Solar. The album reached #1 on the college hip-hop charts. Guru's latest project is the fourth installment in the Jazzmatazz series, entirely produced by Solar. It was released in early June 2007

April 11, 2008


Jaspects, being born during the hip-hop movement, integrates their youthfulness with the maturity of the jazz language. With their interest being the progression of music, they hope to serve as a bridge between the two genres and utilize both art forms for the purpose of innovation and not imitation. Established in February of 2003, Jaspects sole purpose has been to "redefine all aspects of jazz," by bringing jazz back to the forefront of poplar music by introducing it in a way that other generations can understand, appreciate, and digest. As sons of the illustrious ’’’Morehouse College’’’, they also attempt to fuse jazz and hip-hop WITHOUT compromise.

As students of jazz and children of hip-hop, we have been forced to live within two distinct worlds. Our goal is to create and perform music that can be appreciated by aficionados of both genres without compromising the musical integrity of either. We hope to draw hip-hop lovers into the world of jazz and do the same with fans of jazz.

Jaspects strives to merge the worlds of hip-hop and jazz so that listeners can get an exhaustive musical experience that involves TRUE freedom of expression on both ends of the spectrum. The freedom of expression in jazz is obviously linked to musical improvisation and creativity, whereas the freedom of expression in hip-hop is more closely linked to lyrical creativeness. Our aim is to rescue the struggling genre of jazz while breaking down the structural constraints of hip-hop. Jaspects attempts to make music of substance in every sense of the word. We create music that has depth creatively, lyrically, and musically without ostracizing the casual fan of either genre.

Jaspects uses music as an agent for change. Music is the mouthpiece out of which the band interprets and addresses broader ideas about African American society and how to efficiently affect change. In this vein, we make a point to be active in society. Jaspects is about ushering change in the way pioneers such as Miles Davis, James Brown, and Marvin Gaye have. Whether we’re playing at the legendary Bakers’ Keyboard Lounge in Detroit or talking to a group of high schoolers in southwest Atlanta, the message conveyed by our voice is the same, "make your voice through your music mean something to the world at-large."

The band operates out of Atlanta, GA and consists of pianist/music director Terrence Brown (Memphis, TN), bassist Jon-Christopher Sowells (Dallas, TX), drummer Henry C. Conerway III (Detroit, MI), tenor saxophonist D’Wayne Dugger (Queens, NY), alto saxophonist “Sir” Jaye Price (Anniston, AL), and trumpeter James E. King (Stamford, CT). The band has released three independent albums (2005’s “In ‘House’ Sessions", 2006’s "Broadcasting the Definition,” and 2007’s "Double Consciousness”) and conducted three self-promoted tours of the eastern United States.

Most of our fans are what we like to call tastemakers: they are either collegians or are young adults in the professional world who enjoy music of substance and want to be the first to experience an act. They have proved to be loyal with them supporting us in markets such as Detroit, Berea, KY, Connecticut, Knoxville, Memphis, Houston, Dallas, Orange, TX, and Clemson, SC. These fans provide overwhelming support at our average of 90 shows per year. This healthy show schedule is reflective of our dedication to the music, with three-of-six members still in undergrad.
Individually, band members’ works have appeared in the 2005 major motion picture “Hustle & Flow,” on Chamillionaire’s platinum album, “Sound of Revenge,” on Carlos Santana’s latest album, “All That I Am,” with platinum recording artist David Banner, and in the 2005 and 2006 HBCU All-Star Big Band. Collectively, the group has performed for Yolanda Adams, Ted Turner, Gerald Levert, Bilal, and Outkast. After playing for jazz lover Bill Cosby, the band was asked to perform during the Ray Charles Tribute held in Beverly Hills, California, where Samuel L. Jackson, Quincy Jones, and Stevie Wonder among others were in attendance.

April 05, 2008


Marea Alta, the very versatile Latin Jazz group, is currently based in the Atlanta Metro Area, Georgia, where it showcases a prime line of innovative musical entertainment. Prior to its establishment in the city of Atlanta, the group had been regularly performing in nightclubs and at many cultural events for the last seven years in the capital of the state of Florida, Tallahassee. Originally, Marea Alta had its headquarters in the Tampa Bay Area during the early 1980s. In 1984 the Marea Alta project achieved popularity overseas when one of its original compositions reached the top ten hit parade in Caracas, Venezuela (position number four for three consecutive weeks and seven months in a row within the Venezuelan musical charts). Presently, Marea Alta features an extensive inventory of original compositions which has seized and engaged the listeners in hundreds of live performances.

The Members of the band are professional musicians who have ample experience in the realms of recording and live performance. The musical style of Marea Alta is categorized as Latin Pop Jazz/Smooth Jazz. Marea Alta incorporates the improvisatory structure of Jazz into a scheme of multiple Latin rhythms and popular melodic arrangements. The end result of this musical blend is characterized by its ability to capture the musical taste of multiple audiences. The tropical and fresh music of the group has been described as a delightful beachfront style, like a cool breeze drifting off a high tide (Marea Alta) onto a warm sunny shoreline. The music of Marea Alta is designed to reach the attentive listener looking for an original and brighter sound. Marea Alta certainly offers a pleasant journey of contemporary rhythms and a fine musical expression.

April 04, 2008


María Teresa Fusari was born in Buenos Aires, Argentina from a Spanish mother who loved the sea and the mountains and an Argentine father passionate for nature. She inherited that love for life, the search for our origins, the defence of human values and the respect for all kind of life.

Being a teenager she read “Rimas” (Rhymes) by the romantic Spanish writer Gustavo Adolfo Bécquer. It awakened her to poetry. Since then, she became into the “rhyme writer” for every informal celebration.

Later on, at university, when studying to be a Public Translator she re-discoved her passion for poetry diving into the work of those she calls “our masters” which widened her vision of the world to unknown horizons and so fell in love for life with literature, mainly with poetry.
In that time she had the opportunity of meeting the great Argentine writer, Jorge Luis Borges, for whom she had always felt admiration and whose book “Moneda de Hierro” (Iron Coin) bearing his signature she keeps as one of her her most valuable personal treasures.

She started teaching English when she was sixteen years old, working at different levels, public and private.
Some years later she would combine both activities: teaching and being a translator, but her love for kids and teens and working with them had carved her deeply. Her choice was clear.

Meanwhile she started to discover internet and all the possibilities it offers. She made research and learnt how to design a webpage, building her own. That was the way a well-known Spanish Publishing House – Planeta de Agostini- got in touch with offering her to take over their page on Spanish poetry on the site they were to open, which was later known as “Temalia”. There she carried out tasks like writing articles on literature, answering visitors´ questions, leading a forum and a chat.
She got two awards that year for the tasks she carried out with the page and the chat.
That job was a good opportunity to get in touch with many well-known -and not so much- good poets and, some time later, together with a Spanish writer and critic she opened their own forum on literature.

A year later she was invited to moderate “El Fausto”, other forum of the same kind and in 2006 she was requested to take part in a judge for a literature contest.

As a teacher, she kept attending courses and seminars and trying to keep up to date with everything that could make the teaching process more interesting and dynamic.

The continuous need for new authentic material has found on.the internet an endless source of information and material.
Being very inquisitive she came to listen and enjoy the programme “Spotlight on Jazz and Poetry” so much that she immediately thought of it as a good way to make her students learn a bit more about good music and literature while practicing their English using authentic material.

Spotlight On Jazz And Poetry in the ESL CLASS

“Spotlight on Jazz and Poetry” in the ESL class.

The internet has become into an every day tool for teachers and students of English whenever they have access to it, offering a wide source of authentic material.

Personally I just try to keep a balance between their likes, which I use to the benefit of the language acquisition, and my purpose of showing that there is much more than chatting and games on the net.

Calling myself an “internet squirrel”, I keep searching for new challenging material. It was in this way that I came across “Spotlight on Jazz and Poetry”, the programme hosted by Clayton "Bigtrigger" Corley. I enjoyed it so much that I immediately felt I could use it with my students. It gave me the possibility of exposing them not only to the language but to good poetry and music on a cultural basis.

How do I use the programme?
It is excellent for practising listening comprehension, writing and speaking.
Some of the activities students carry out:

- They have to listen and get the gist which is discussed in pairs or the group.
In some cases they are encouraged to listen again to clear up different ideas.
Lower levels are helped through guides as it could be a set of questions, a true/false exercise or specific vocabulary given in advance.
- They are given a copy of part of the text –poem or biography- with some missing key words. They have to fill in the gaps while listening.
- They are given a set of true/false statements. They have to tick the right ones and correct the false ideas while listening.
- According to the student’s level they are textual sentences or they aim to the general comprehension of the verse/stanza/poem.

- Advanced students may be requested to listen and make a comment on the poem/s and the music and/or to give their opinion on the relation they find between the music as the background to the poems
- They are asked to identify specific vocabulary and explain and/or give synonyms in every day language or other type of English.
- They are encouraged to discuss the message of the poem in context and from a cultural basis.
- They may be challenge to role-play: taking the programme as a model, role-play a similar situation including poems and background music.

Working with this kind of material means a challenge to learners as they can see by themselves how proficient they are.

María Teresa Fusari
Teacher of English in Argentina

ESL: English as a Second Language


Alejandro Drewes is writer, translator (Catalan, English, German and French) and poet. Born in Buenos Aires, Argentina in 1963.

He is also editor of the literary review AERA, www.AERArevistadepoesia.yahoogroups.com His poems and prose were published in various anthologies, including: Confluencia Poética. (collective anthology, vol. I). Buenos Aires, Nubla, 1997; Vivencias Secretas (collective anthology). Madrid, Centropoético, 2004; Antología 55° Aniversario del Ateneo Poético Argentino (1950-2005). Buenos Aires, Creadores Argentinos, 2005; Pura Luz Contra la Noche. Buenos Aires, Editorial De los Cuatro Vientos, 2006 (book presented in the National Library (Buenos Aires), September 2006, Uvas del Paraíso (to be published), Buenos Aires, Editorial Francachela, 2007.

Selected poems and prose of Alejandro Drewes have been published in the literary reviews Rampa (Colombia), Adamar (Spain), La Pájara Pinta (Mexico), Palabras Diversas (Florida, USA), LaLupe (Mexico), Añil and Ser en la Cultura (Argentina), and LaBarcadePapel (Austria)

Critic essays on a couple of poets, including Sjöstrand, Malinowski., Montale and Pizarnik, have been published in the literary reviews Gibralfaro, (University of Malaga) and Francachela (Buenos Aires). He has directed (Buenos Aires, 2005-2007), the cycle of AERA’s monthly poetry lectures in S.A.D.E. (Argentine Writers Society), and is also Honorary Member of the World Poets Society

Some of his distinctions include the National Award (Buenos Aires, Grupo Editorial Sur, 1999), in prose and poetry; the Prize Award “Hugo Paulo de Oliveira” (Rio das Ostras, Brazil, 2007) ; as well as designations as finalist in the poetry contests “Misescritos” (Buenos Aires, 2005), and “Cardo”. (México DF, 2006).



Mis amargos guijarros cuento, me oyes
y es el tiempo una gran iglesia, me oyes
donde a veces en las imágenes, me oyes
de los santos
surgen lágrimas verdaderas, me oyes
y las campanas abren en lo alto, me oyes
un hondo pasaje que permita mi paso
Aguardan los ángeles con cirios y fúnebres salmos.

Odiseas Elitis: El monograma (fragmento)

Hunde tus dedos azules
en el anillo de las Islas,
y solamente calla:
porque la voz que me agita
no es ya ni un remo roto de mi voz,
ni vuelve Atenas a huir
de los persas al poniente.
Nada es como era,
ni sombra de alas
perdidas en el cielo, perdidas.

Hemos esperado a los bárbaros
hasta que subieron las aguas
sepultando los huesos de Jonia
y sólo esto queda: por eso
tú solamente calla,
y graba en la memoria
cada íntimo guijarro del mundo,
nuestro mundo que partió
al país de nunca jamás.
Y graba y graba, mar azul, en tu memoria.

Por todas las voces que suenan
en mitad del silencio
y por la oscura boca de los muertos
que viven aquí. Pero es tarde,
tan tarde, y se consume la última lámpara.
El viento y las zarzas sacuden
los viejos olivos de Lesbos:
donde la luna se ha ido a disgusto
y han caído las Pléyades,
errantes órbitas en tierra baldía.

Ya ni siquiera gritos de angustia
recorren las aguas celestes,
ni la cítara del viento en la noche
ilumina nuestro paso de polvo
entre tumbas egregias
y el mármol violado de Byron.
-Pero tú solamente calla-
Y escucha en demótico
la clave del tiempo
en relojes azules de estrellas.

Aquí vivieron sus sombras
oscuras o blancas,
entre sombras de zafiros.
-Y allí sobre la arena
una vez me diste tu mano-.
Extraños para otros oídos suenan
los números pares
en las múltiples rutas del arpa:
Pero tú calla: sí, calla y escucha crecer
azorado como ramas las columnas del silencio.



My bitter pebbles I count, do you her me?
and the time is a great church, do you hear me?
where sometimes in the icons, do you hear me?
of the saints
true tears appear, do you hear me?
and the bells open in the High, do you hear me?
a deep passage that allows me to pass
The angels wait, with candles and mournful chants.

Odysseas Elytis: The monogram (fragment)

Sink your blue fingers
in the ring of the Islands,
and then only shut up:
because the voice that agitates me
is not even a broken oar of my voice,
and won’t return Athens to shun
from the Persian to the west.
Nothing is now as it was,
any other wings’ shadow
lost in the sky, so lost.

We have waiting for the barbarians
until the waters went up
burying the bones of Ionia
and only this remains: then,
you must only shut up,
and then record in your memory
each innnermost world’s pebble,
from our world that departed
to the land of nevermore.
Let record and record, blue sea, in your memory.

For all the voices that are playing
in the very half of the silence
and for the dark mouth of dead men
who live here. But it’s late,
so late, and the last lamp consumes.
The wind and the blackberries shake now
the old olives of Lesbos:
where the moon has gone against its will
and the Pleiades dropped,
wandering orbits in a waste land.

Not even anguishing screams
pass over the heavenly waters,
nor the wind’s zither in the night
enlightens our step of dust
between all these eminent graves
and the violated Byron’s marble.
But you must only shut up-
And hear in Demotic
the key of the times
in the blue clocks of the stars.

Here did their shadows live,
the dark ones or the clear ones
between shadows of sapphire.
And there, over the sand
you gave me once your hand-
Strange for another ears
the even numbers are sounding
in the multiple routes of the harp:
But shut up: yes, shut up and hear
how do the columns of silence grow.


Y ahora esta suprema oscuridad
clavada en el madero del día.
Tres negaciones de palabras
que una vez te convocaron,
y ahora voces baldías apenas,
la ignorada por siempre
velada mitad de tu lecho.

Saber con la certeza más triste
que hoy comienza la oscura
noche insepulta del alma.
La larga, la dura, la lenta
implacable en los huesos
cuando ya nadie espera aquí,
como en tiempos esperara.

Sí, me pierden laberintos tan grises
como la hosca lluvia entre flores
arrancadas por fin de la tierra;
la vieja quebrada copa de oro
en vino trizado del último sueño,
bandera ignorada por el viento
en su melancólico paso,

y ahora la tensa calma contenida,
cristal de quebradas palabras
que una vez te soñaron, desnuda
y única en el difícil hotel de las horas;
porque suenan campanas oscuras
-en este instante agreste alguno ha partido,
alguien más, ayer entre los vivos-

Pero cómo decirle a la boca
que tú ya no estás, que me llevo
apenas la frágil ternura de tus pechos
en el preludio de la despedida,
que el tesoro de tus dedos
me arde en las manos, me lleva hasta nunca:
que me vuelvo nada, nada, nada.



And now it is this supreme darkness
nailed in the timber of day.
By three refusals of words
you have been once convoked,
and just now these waste voices,
the forever ignored
and veiled half of your bed.

To know with saddest certitude
That today is beginning the dark,
unburied, night for the soul.
The long and slow and hard one,
the inexorable night in the bones,
when there’s nobody here waiting for,
as in somewhere of the past it was.

Yes, I wander through a so gray mazes
like the sullen rain between the flowers
rooted out at last from the earth;
the old and rusted golden cup
with shredded wine of last dream.
Just like an ignored flag through the wind
in its long way of melancholy,

and now this sort of tense stillness,
the crystal of broken words
which once dreamed on you, nude
and unique in the hard hotel of hours;
because of this sound of dark bells
-in this wild minute somebody is departed,
and it was yesterday when still lived.

But how could I say to the mouth
that you are not still here, that I take
just your chest’s frail tenderness away
in the prelude of our farewell,
that your fingers’ treasure
is burning in my hands, and it drives me
to nevermore. That I became nothing, nothing.



A plain landscape
a probable vision of everness
with only three shadows.

No man's land under a high
vertical falling light,
just there, where the time

is still searching for the first mesh
of dark virginal woods,
for the days of grace.

I spoke about shadows
and light, about shadows
-and maybe not strictly about trees.


Lost in the far and hottest air,
the last clouds’ riders go.
Lead your food steps, that will go
from the night to the night, see
the slight footprint from those
before you. It’s unique this way
with yourself and its slow heavenly dust,

that’s all you have: any more for waiting,
any other changing signs under the sky.
But you have birth by a so gray belly given
in the times of great mechanical myths.
To a foggy borders of Empire you have come:
To the place where the mouth become dumb
and someone files your name under ‘nother despatch.


Just stay there, like the circular dream of this night passing by.
And hear: these growing shadows, beyond all of past lives
of believers and lovers, to the other side.
You can hardly know what's hidden in the darkness,
just a solitary crack loosing slowly from the burning house of love.

Words eternally flowing, like the song in a dark hearth.
Someone played a few notes on the piano - they softly fade,
like the blanks and the holes through the tent of this poem,
written by the naked moonlight, in the old-fashioned way.
They belong to the depths of night, so far from the fire days.

O beloved! Just stay there, tenderly rest over this uncertain bed of words
like other lovers did, before leaving.
Time is now -black pilgrim has come, from his no man's land-.
There is nobody out there, only the same traces of shadows on the grass,
the wind through the leaves, the hard question on God.

Words running so gently, from the I - land to the unknown,
from the scattered stones of the city to the next flood.
They will follow their heavenly way, under the last morning star.
As I said: Time is now, only now. Carpe diem.
Forgotten notes in a book of days, mystery waiting behind a closed door.




Uniquely the Old Greece could gave such a faces,
before the long days without greatness.

House of soul or land in the wind of a dream,
where all or maybe nothing is true,
so far from the breath, from Others’ footsteps


It’s surprising that so many looks
leaving any footprint in the mirror.
O you, silvery zero, ambiguous matter, so null !


Trumpets of sun to silence fall
on house and barn and stack and wall.
Within the cottage, slowly wheeling,
the lamplight's gold turns on the ceiling.
Beneath the stark and windless vane
cattle stamp and munch their grain;
below the starry apple bough
leans the warped and clotted plow.
The moon rolls up, while far away
and thin with sorrow, the sheepdog' s bay
fills the valley with lonely sound.
Slow leaves of darkness steal around.
The watch the watchman, Death, will keep
and man in amnesty may sleep.

William Faulkner: A green bough


Lord, so many times I walked
all around this place
-and it was not in those time
so dark as I can see it today-

could be this the same white house
where there was laugh, dazzling?
or terse house as a dream
in the book of the past days?

there became the pines,
so high in their fog,
a unique shadow of green,
waiting. And here, at sunset, a crystal

of hush is broken, beyond the birds,
in memory of the voices ready to leave
this night with myself,
with no other mercy nor return.


We called Hans
to the fool of our town.
Nobody here forget
his big blue eyes,
the flourished pockets
of wild berries

-and just in these times,
his weak footsteps
had fear of us-

We called him…


But in the house of love it’s late, so late.
There, where you leave your hearth, and thee was something brightening.
And finally the sun, like a fire against the Eastern windows.

The poem and all that is can not be said.
The blanks and the holes dividing the words, as the air of the time in the net of the spider.

One night, when the slow ship of the moon rolls up, just when the silence becomes a kind of everness.

Somewhere, the water falls.
From time to time, the poet write some thing about its music.


After studying harmony and composition with the best Argentinean saxophone and clarinet teachers, Ricardo Cavalli obtained in 1995 a scholarship to study Jazz Composition in Berklee College of Music, Boston, USA. There, he meets and studies with Frank Tiberi (Woody Herman Band) and Greg Hopkins. They inspire and encourage him in his career and through their recommendation he receives important scholarships.

Ricardo was invited by Joe Maneri, microtonal music pioneer, to attend the New England Conservatory. He is also accepted in 1996 as a private student by a tenor sax Jazz titan, Jerry Bergonzi.

He was selected by the New York Lake Placid Institute to attend a seminar on composition and orchestral training. There he meets Bob Brookmayer, Jim Mc Neely, Maria Schneider among others.

After working professionally in the New York scene, he returns to Argentina to take part of the most important Jazz bands, being considered by the press as 1999 revelation artist. He wins a contest to teach in a public Music Conservatory. He also teaches both, privately and in a elementary and high school, sax lessons as well as clarinet up to these days.

In year 2000 he is selected by the press as the best saxophone player of the year and his band is considered one of the top five in the Jazz scene of Buenos Aires.

In 2002 his first work as a soloist was declared the best jazz album of the year by the local press (La Nación).

Currently, his own band performs music by his own, inspired by Afro-American roots, willing to express the spirit of the great musicians that inspired his style.