Classic and Contemporary Poetry: Explained

"BMP BMP" by William Matthews is a vivid portrayal of a jazz performance, focusing on the artistry and improvisational skill of Sidney Bechet, a legendary jazz saxophonist. The poem captures the nuances of a live jazz set, highlighting the interplay between musicians and the transformative power of music. Matthews uses descriptive language and metaphor to bring the scene to life, celebrating the spontaneity and skill inherent in jazz.

The poem opens with a scene set to the tune of "Yes We Have No Bananas," played at a deliberately slow tempo. The description of the performance as "lugubrious" sets a somewhat somber, yet tongue-in-cheek tone. The musicians play the song "at deadpan / half-tempo," infusing it with a laid-back, possibly ironic feel. Bechet's entrance is likened to a "fakir's snake," suggesting a mesmerizing, almost magical quality to his playing, characterized by his "boulevard-broad vibrato." This vibrato is described as if it could "claim space in the air," indicating the expansive and commanding nature of his sound.

As the band members take turns, a "spurious growl from the trombone" and a "flutter of tourist / barrelhouse from the pianist's left hand" add layers to the performance. These descriptions evoke a sense of playfulness and a mix of authentic jazz with crowd-pleasing elements. The line "Life is fun when you're good at something / good" succinctly captures the joy and fulfillment that comes from mastering a craft, especially one as expressive as jazz.

The band transitions towards "Tin Roof Blues," utilizing their collective experience ("246 years / of habit and convention hard") to enrich the performance. Bechet's unaccompanied solo passage is a standout moment, described with the playful "doo dah doo dah doo / bmp bmp." His mastery is evident as he holds and manipulates his first note, transforming it from a "staccato spat / with the melody" to something more profound.

Matthews describes Bechet's performance as taking a "stupid, / lumpy and cynically composed little money- / magnet of a song" and elevating it. This transformation is achieved through Bechet's "shimmering gulp / from the tubular waters of the soprano sax," turning the saxophone into an instrument capable of transcending the mundane. The saxophone, in Bechet's hands, becomes both "the most metallic / woodwind and the most fluid," showcasing his ability to blend rigidity with fluidity.

The metaphor of planes taking off from aircraft carriers in World War II films further illustrates Bechet's musical journey. Just as planes dip off the edge before catching air, Bechet's music teeters on the edge of convention before lifting into a unique, expressive flight. The comparison emphasizes the tension and release in his improvisation, playing "against the regular disasters / of the melody" and exploring the interplay between freedom and structure.

Bechet's performance reaches a peak with a "long, drifting note," capturing a moment of elevation and release. This note is likened to a child who "decided / to come home before he's called," suggesting a return to familiarity and comfort. The band rejoins in the "joyous and tacky chorus," and the piece concludes with the musicians preparing to segue into "Tin Roof Blues."

"BMP BMP" beautifully encapsulates the essence of a live jazz performance, celebrating the improvisational genius of Sidney Bechet. Matthews' detailed descriptions and metaphors capture the energy, skill, and emotion of the musicians, highlighting the transformative power of jazz. The poem pays homage to the spontaneity and creativity that define the genre, portraying jazz as a dynamic and deeply human art form.

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