On the CD, the poems are presented in a different order from that in the book, and the disc opens with “Ah, New York,” one of my favorites from the fifth chapter. The track begins with the sounds of the city before the musicians come in, the song having a totally groovy jazzy rhythm and attitude, which is perfect. As I read the book, the rhythm for many of the poems felt like jazz to me. And Scottie Miller delivers some delicious work on piano. “Blow your horn, move your mime,/paint your face, bring your shoes to shine.” Here and there, there are minor changes from the book. For example, in the book, that line is “paint your face, bring shoes to shine.” The track ends as it began, with the sounds of the city. That’s followed by “Whiskey, Coffee,” a poem from the book’s first chapter. This is a somewhat mellower, contemplative piece, and it is one of the poems to mention Boston, making me a bit homesick. “Sewer gas in rising steam/carried through/Harvard Square.” Now that is an image to transport me there.
“Berklee” obviously is also about Boston, specifically the Berklee College of Music, and it features a delightful rhythm. Again, jazz is what I heard in my head while I read this poem, and this track features an instrumental section at the beginning to set the mood. This is the one I felt compelled to read to my girlfriend over the phone, as she’s from East Boston. Ah, but my delivery was nothing compared to the delightful rhythm and energy of Scottie Miller’s delivery here, so I’ll have to play this track for her soon. “Ghosts left there lingering/bewildered/in those studious clouds of education/that hover/in the November rains/of Boston.” Oh, yes! The disc then moves back to the fifth chapter for “Adrenalina.” Most of the poems that Scottie Miller chose to include on this album come from the first and fifth chapters of the book. This one has a different vibe, with a funky, fun sound. I dig that bass. For this one, he adds the line “Yeah, Adrenalina, yeah” and other vocal riffing. “I can’t control these highs and my depression’s gettin’ stronger.” Perhaps, but he is grooving here, and it doesn’t seem like depression is getting in the way too much.
Scottie Miller then goes back to the first chapter, and actually the poem that opens the book, “Walking On Eggs.” This one features a cool approach, the lines delivered as spoken word, with some work on piano that feels improvised, giving the piece an honest, intimate feel. Then from the book’s fifth chapter comes another cool track, “I Wake To Many Melodies,” its vibe calling to mind some of Tom Waits’ work. I mentioned in my review of the book that many of the poems deal in one way or another with music, and this is clearly one of those. It features some gorgeous work on strings. I also love this track’s rhythm. Also from that fifth chapter comes “Bleecker Street,” this one having a more somber and pretty opening on piano. Then as the strings come in, it becomes a dance, which is wonderful. “Sober and clear as an ice shelf adrift/letting it go, now I’m breathing a gift.”
“How Can The Poor Man Ever Win?” is the first track on the album to not come from either the book’s first or fifth chapter; it comes from the third. This one has a soulful sound and approach, with a beautiful vocal performance supported by some warm work on piano. That’s followed by “A Better Way To Cope,” with a sound so positive and promising as he delivers the first line, “There is magic floating through the air tonight.” Oh yes, you can feel it, perhaps, for a moment, but there is a certain melancholy here and a struggle that soon make themselves known and felt. The strings add a gorgeous element. “Truth and justice/are knocking at the door./As the day comes to a close,/there is the hope of something more.” This is one of my favorite tracks. Then “The Gritty Border” has a totally cool sound. Scottie Miller digs into this one vocally at moment, and delivers some delicious work on keys, particularly during that instrumental section in the middle, making this another of the disc’s highlights. “Space Heaters And Cocoa” has a playful vibe, which I love.
“Lowry Avenue Bridge” has an interesting sound as it begins, the piano having a sort of eerie feel, like a ghost, like a memory. The sound then becomes warmer as it goes deeper. “1800 Chicago Avenue” is delivered as spoken word, and features a nice groove. There is a bit of “Auld Lang Syne” delivered on piano toward the end when he says, “Global New Year’s resolutions put off once again.” That’s followed by “Stay.” Scottie Miller plays keyboards for Ruthie Foster on tour, and on this track she joins him on vocals. This one has more of a modern rhythm and blues vibe, with some of the lyrics delivered sort of as rap. And of course, Ruthie Foster gives a strong performance. As I mentioned earlier, there are some minor changes as the poems become songs. Here the line “Too much time in your hands” in the book becomes “Too much time in your own hands.”
“Conjunction” is one of only two poems from the book’s second section to be chosen for inclusion here, and interestingly, it is delivered a cappella. So basically this one is a poetry reading rather than a song, and that, not surprisingly, works well. It is followed by “There Will Be A Raining On My Heart,” one of only two poems from the fourth chapter, this one featuring some good work on strings and some moving work on piano. Scottie Miller’s delivery is loving and gentle, growing in power toward the end. Then “Yin And Yang” comes from the book’s third chapter. It is delivered as basically spoken word, with some beautiful and powerful work on piano supporting that vocal performance. “The only difference in you or me is a restless ancient melody.” Also from that third section comes “Minstrel, Monster, Alchemist.” I love the work on strings here, gorgeous and compelling. This track also features one of the disc’s best and most interesting vocal performances, and is another of my personal favorites. In “Silver Sky,” I especially like Scottie Miller’s delivery of “Too many of my nerves been broken,” and the way he repeats it here, which is different from the book.
“Division” is one of the poems that stood out for me when I read the book, and here it is delivered simply, honestly, his vocals supported by just piano, without any instrumental sections added, so it is one of the shortest tracks of the album. Then “China In Paris” has a rather mellow, soothing approach, growing as the strings enter. That’s followed by “Beggar, Banker, Fisherman Pay,” which begins with a pretty folk sound on the strings. “All are welcome and free to stay,/not one left out on this cold night – /beggar, banker, fisherman pay,/no mind their purse albeit light.” Those are wonderful closing lines, and this track leaves you feeling good. The book ends with “24 Hours In Mexico,” and so does the CD. There is a playful aspect to this track that is delightful, in the way he delivers certain lines, and how he demonstrates the clapping that is mentioned in the lyrics. In this one he recounts a tale, while the musicians groove. I love the way Scottie Miller varies his delivery of lines throughout the track.
CD Track List
- Ah, New York
- Whiskey, Coffee
- Berklee
- Adrenalina
- Walking On Eggs
- I Wake To Many Melodies
- Bleecker Street
- How Can The Poor Man Ever Win?
- A Better Way To Cope
- The Gritty Border
- Space Heaters And Cocoa
- Lowry Avenue Bridge
- 1800 Chicago Avenue
- Stay
- Conjunction
- There Will Be A Raining On My Heart
- Yin And Yang
- Minstrel, Monster, Alchemist
- Silver Sky
- Division
- China In Paris
- Beggar, Banker, Fisherman Pay
- 24 Hours In Mexico
Carnival Cocoon was released on September 15, 2022.
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