Once Again From The Top

 AN IDEA OF IMPROVISATION WITH THE UNCERTAINTY PRINCIPLE—”Take X

towards a freer jazz with ashes buried under some trees by a ¿dead? cat in a different key

why do we hush to enter

what are not shrugs 

or hugs but still mostly full

of sharp edged petals

shielding colorful fruit

which could perhaps function 

—”beloved”—as chromatic points 

in the pentatonics

of The Black Raspberries,

long known to evolve

into a longing to grasp

and risk a crimson pinch 

while not knowing

if a light note later

the hidden position 

of a thorn section

might tincture i 

or for a time lapse into

some conjugation 

of tidal desire dug by Kearney

from a Pointillist tone poem 

of a pond which seems

tailored on the edges by Cécile

or Nate or Cecil pleating 

secret theories of jazz 

we once tried to retrofit

from “Le Front Cache”

or even the knees 

of a more natural 

man or woman, yet 

keep modeling or yodeling 

beyond the velocity

of wavy phrases

or Harriet sleepily mulling

over a syntax of velvet

deities which Apophenia—

our anthemic diva—

dreams to bray or splay

how bananas it is

that they’re berries

into elaborate diagrams

or collapsed reasons

for Drunken Gardens

but maybe just fell or felt 

like a trio of Autumn Leaves

to shade in or abrade out 

these parakeet feelings 

seeking to query 

what appears to change 

or even changes to appear 

as we aim to measure 

some berried desire

with its green silence 

bladed nearly to the point 

of a sound science?