I want to thank Carlo for his excellent and insightful post on Pound and
Music.  I think the observations on jazz and Pound's "improvisational"
technique were probably right on the mark, and they helped me to appreciate
one part of his art which I had hitherto not thought very much about.

Carlo wrote:

<<
I once proposed to a local radio station that they
have a show that played 20th century classical composition and bop and
experimental jazz. Art Pepper meets Elliot Carter. Why not? I was
rebuffed. >>


I was fortunate once to produce such a radio show, on a weekly basis at a
College radio station.  I would often play Braxton and Schoenberg, Coltrane
and Stockhausen, Miles Davis and John Cage, in succession.

I know very little about the history and practice of jazz, actually; most of
my interest in music is in "the classical tradition," from Monteverdi and
Garibaldi to Shostakovich and Stravinsky.  But I do grasp enough of what
Carlo is saying to see that it is very relevant to our understanding of
Pound as an artist.

I believe Pound said that poets who failed to take an interest in music
could never succeed (at about the same time he met Antheil, Dolmetsch, and
Olga Rudge in Paris).  Pound took a great interest in unearthing old Vivaldi
scores when he first arrived in Rapallo.  Frankly I would like to see the
connection between Pound and Music explored in more detail, as Carlo does in
his recent post.

Thanks.

Wei


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