Open-Ended Autobiography


Arlene Corwin’s Poetry

Just another weblog


Arlene Corwin’s Open-Ended Biography

(10.3.2007 updated 10.24.2007 updated 1.3.2008; updated December 15, 2009, October 2010 )

Arlene Corwin (born Arlene Faith Nover) is an American jazz singer and pianist, poet, teacher and practitioner of Yoga. Born November 8, 1934 in the Williamsburg Maternity Hospital, Brooklyn, New York. She has two children. Jonathan Eric Corwin (born July 24. 1956 and) Jennifer Nover Council (born February 2, 1964). Mother Margy Lillian (born Brown). Father Albert S. Nover. Both were hairdressers, owning a beauty salon together. Everyone was musical on both sides of the family.Mother sang, could play some piano. Father was a gifted sculptor and wood carver, played a little harmonica and mandolin. The family is Jewish.

Early Life
Started studying piano age 8. Studied voice at the famous 1650 Broadway with ‘coach’ Matty Levine. Did a little recording at aged 10 in Nola Studios. (The record has since disappeared) At 12 she started studying harp with Meyer Rosen (Julliard and NBC Orchestra) and the occasional piano lesson with an NBC pianist who taught her how to read chord changes, seeing at once that she was not interested in learning classical piano.

As a child she had already sung at weddings, bar mitzvahs and for the USO, raising bonds for the war effort. At 13, having a boyfriend who played the saxophone and who listened to Symphony Sid, jazz disc jockey whose late night show originated from Birdland, she awakened to jazz, listening to the late night show “under my blanket”. “A turning point”, she says. (Well before “Lullaby of Birdland” was put to words Arlene had written a lyric of her own – a lyric she still sings today) At 14,she was playing for a dancing school once a week. Then she got an accidental job (“slipping in on a banana peel when the singer got sick”) in a Brooklyn nightclub singing with a group. “Mom and dad chaperoned, of course”.1950s 

She began to sing regularly when again, out of the blue, an agent rang offering a job for a hundred dollars a week to play at the Mayflower Hotel in Manhattan. It was a restaurant owned by Bob Olin, a former light heavyweight world champion. “I was so naïve I played the whole evening without ever taking a break. Who knew about breaks? Why they kept me I’ve no idea.” But they did and the steady salary of $100.00 a week (which she gave directly to her mother, any other choice never occurring to her) and the experience of having to make a varied program led to her singing to the piano, and eventually to playing to the singing. At this time she was still in high school as attending the prestigious High School of Music & Art as a harpist.She graduated from Music & Art getting a scholarship to Hofstra College as a music major.

Then in 1952, while still at Hofstra College (now university), she was playing on the weekends in a Hempstead, Long Island nightclub-restaurant when Slim Gaillard, who’d come to see Jack Teagarden (also working there) began to take notice of her. He started showing up regularly. There he met Arlene’s mother Margy, and the two eventually opened a jazz nightclub, the first to cater to blacks and whites. It was called The Turf and it, like Birdland had its own radio show, for which Arlene wrote the theme song “The Slim Gaillard Show”. Now she was standing as well as sitting, getting a chance to sit in and sing as often as she chose. The die was cast. It was jazz, cool jazz.

Early Influences
In 1954, on the day she ought to have been attending her college graduation, she married Bob Corwin, a 21-year-old jazz pianist with the Don Elliot Quartet. Because Bob toured, Arlene began her new stage of education: listening to Don’s group while they played on the same bill as the jazz greats of the 50’s. There was Helen Merrill at George Wein’s Storyville in Boston, Terry Gibbs and Illinois Jacquet in Detroit, Bill Evans, Cy Coleman, Bernard Peiffer, Tal Farlowe,Johnny Smith John Mehagan and Billy Taylor (who had also performed at the Turf) at the sophisticated Composer owned by jazz lover and connoiseur Willie Short in Manhattan. ” It was also a chance to see and listen to other singers of the day. New York was marvelous in those days. I saw Peggy Lee at Basin Street, became friends with Blossom Dearie at Trudy’s in the village, Oscar Peterson, Marian McPartland at the Hickory House, Sheila Jordan, Morgana King. It was THE university for me. I was introduced to and mentored by Tony Fruscella, the tragic, unsung genius of the trumpet, ‘who I took on my gigs, but to whom I was actually the apprentice’ – and through Tony to Morgana King and Beverly Getz, the talented [and equally tragic] wife of Stan Getz. I feel blessed to have experienced jazz at that time. The guys would gossip about who played ‘behind’ or ‘ahead’ of the beat, bass lines, good changes, bad changes. No Music & Art or Hofstra did that. I learned almost the whole of what is now called The American Songbook. And I, I was sounding like Sarah Vaughn with a little voice.”


Hanging Around Manhattan; Not This, Not That…
Living in New York, and looking for a niche she spent time, as other musicians did, at the Musicians Union Local 802 or Charlie’s Tavern where jobs could show up. In this way, there were weeks and weekends away with big bands: Tommy Dorsey’s Orchestra under the leadership of Warren Covington, Claude Thornhill and Larry Sonn.

“When you hang around New York all kinds of opportunities show up”. And so, she got a leading role in a B film called “Jukebox Racket’, wrote the score for another B film called, at the time “She Should Have Stayed In Bed”, later to be called ‘1,000 Shapes Of A Female: see IDMB (the company, called Exploit Films was owned by Errol Flynn “tall, big in every way, veins on his face, but exuding old world charm” He was quite, quite overwhelming.”

Then there was a bit part in John Cassavetes “Shadows”, followed by the lead in what has become a cult ‘beat’ musical called “The Nervous Set” by Fran and Jay Landesman where she introduced the now-standards “Spring Can Really Hang You Up The Most and “Ballad Of The Sad Young Men”, both subsequently recorded by Ella Fitzgerald, Shirley Bassey and numberless major artists. She studied acting with Joshua Shelley. “It was a time to find out who and what I was. “I was definitely not an actress. I was too introverted and none of those clothes fit” she says.

More Influences and more Not This, Not That…
In 1959 she met Johnny Burke (Burke & Van Heusen) who took her under his wing, taking her to Hollywood to demonstrate his show “Donnybrook” for Rosalind Russell and husband, producer Frederick Brisson “It was a glitzy time. I stayed at Bob Hope’s house in Palm Springs, met Frank Sinatra and his then fiancee Juliet Prowse, Jerry Lewis, Marlene Deitrich, had my own suite in Las Vegas , traveled first class, but was so introverted I always kept to myself, never saying much, definitely not participating in any of these scenes. Those clothes didn’t fit either.”

All the while she returned to the intimacy of New York supper clubs. They were the bottom line, singing and playing.

It was during the supper club period, she met Al Weissman who became her manager. She was signed to the Joe Glazer Agency and began to tour with her own trio. “Wherever I went they’d say, “You know, there’s just been a girl here who sounds like you. Her name was Barbra something. I suppose we had Brooklyn Jewishness in common. ” (She too was signed with Glazer.)

Although published by Frank Publishing (owned by composer Frank Loesser) years later she asked for the songs back because “nothing happened.” “It was a period of promise, a period I was not equipped to fulfill”.

In 1962 it was back to Hollywood with Al Weissman and high hopes. “I had some jobs, but never in my genre.” Back to New York. A little jaunt of songwriting with singer Dick Haymes. A short marriage of four months to Richard Robin Palmer.

Greece, Lebanon, Greece, Oxford – Yoga & Jazz

In 1966, by way of Paris, Greece (where she and husband Jim Council were neighbors with Leonard Cohen and Marianne) and Lebanon, “where I actually managed to do some television, singing jazz”, she settled in Oxford, England for the next 18 years, teaching yoga,(“lectured and demonstrated in what must have been a hundred Women’s Insitutes, posed for one of the very first health magazines called Health & Fitness, wrote articles on nutrition, had a weekly radio spot on a little radio show for BBB Oxford actually doing Yoga on radio while describing each pose with a microphone up my nose, did a tape on meditation – it was a lot of Yoga”) and singing and playing, being voted Best Jazz Singer in the Midlands 1972, appearing at Ronnie Scott’s three times. She did 3 television shows; a late night BBC jazz show called “In The Cool Of The Evening”, radio for BBC overseas, was invited over to Amsterdam to do Dutch radio, sang at universities around England, (“one night opposite Pink Floyd, “who were just starting out, I suppose”), the American air bases.

She appeared several times at The Stables in Wavendon (run by John Dankworth – now Sir John Dankworth – and Cleo Laine -now Dame Cleo Laine – while at the same time giving weekly yoga lessons to a group there, (which included Dame Cleo – “a wonderful yogin”). The Wavendon All-Music Plan, later known simply as WAP “was the most stimulating and original enterprise I’ve ever encountered, pairing all kinds of musical genre. I even played on the same bill as Vladimir Ashkenazy.”

Starting in 1969 and all during the 70’s fate gave a push to the yoga side of things and Arlene was teaching yoga classes in doctor’s offices for hyper-tense, cardiac and overweight men. teaching regularly at conferences for IBM. She gave demonstrations, lectured all over for the Women’s Institute, posed and wrote for Health and Fitness Magazine (summer issue 1982) a book called The New Manual Of Yoga by Karen Ross (1973) wrote articles on nutrition, made a cassette called This Is Meditation. It was a full double life with Yoga taking half the time and singing the other half.

1980s to now.
In 1983 she once again ran into Slim Gaillard – this time in London. He asked her to appear on a television show he was producing that was to star himself, Kai Winding and Wayne Shorter. It was the last appearance she ever made in England.In 1984, finding Sweden fertile ground for singer/pianists, and meeting and falling in love with Kent Anderson, she moved to Sweden where she lives until today, performing, and writing regularly for “Live With Good Intentions” an online magazine.
Still growing, still changing
The latest news – 2009 and 25 years later, aged 75: a cd of her own songs for Imogen Records produced by George Reece, a concert of Johnny Mercer to commemorate his 100th birthday, poetry grown to 2000 poems (see Arlene Corwin Poetry).

2009 finds her favorite project on Google called Arlene Corwin’s Poetry, a project that started in 1949 or about 2,000 poems ago.

2010 landmark:  First published book of poetry, “Circling Round Time” comes out in September “To The Child Mystic” the second due to come out in December.

2010-11  Circling Round Time and To The Child Mystic.  The Processes: Creative, Thinking, Meditative . Regular contributor  to online magazines ElderwomanSpace; Jerry Jazz Musician; Elderwomanstorytellingplace; 

2012 More books!  Circling Round Woman; Circling Round Our Times, Our Culture; Circling Round Vanity: Vaguely About Music and Circling Round Eros + 2.  Publised by Xlibris.

2013-2014 More & more! Circling Round Yoga, Science, War & Cats; Circling Round Nature; God Book; in the works A Sense Of The Ridiculous.

Music career took an upswing with performances and concerts – an intimate series of composer-of-the-month programs based on the best of American popular composers.

And, of all things, at age 77, the start of yoga teaching in Härryda, Sweden.  

Arlene Corwin is, as at this writing, 80 years of age. Over 3,000 poems.

Tags:arlene corwin’s background, biography, life

Posted in arlene corwin’s biography, autobiography, biography | 1 Comment »

You are currently browsing the archives for the biography category.

Unhappy Me 1954

             Unhappy Me

Unhappy me!

I can’t escape your memory.

Your image falls before my eyes,

And forces me to realize

That when I had you I was free.

Unhappy me!

No matter how I try to flee,

You spirit haunts my night, and days

You’re near, it taunts by bite and ways

To hear me bow in shameless plea.

When as a child I heard them tell

Of people held within a spell,

I cast it off as children do.

I never dreamed that it was really true.

Unhappy me!

Now you control my destiny.

So please be kind and please be just,

And though you feel you really must

Have fun with others and be free,

Please don’t forget unhappy me.

©Unhappy Me 54.3

Lyrics; Arlene Corwin



The Trouble With New York 1954

                The Trouble With New York

The trouble with New York is the weather,

Cause the weather always seems to make me sweat.

The trouble with New York is the subways.

Father Knick goes right on selling beer while I stand and fret.

I can’t stand its nights,

Or its unceasing lights;

The stars remain from sight while oe’r its banks.

And I may be a snob,

But I can’t stand the mob

That goes to Coney and gets ptomaine on franks.

The trouble with New York is the traffic,

Cause the traffic always seems to get me down.

But the trouble with New York,

The ‘worstest’ trouble with New York

Is that you just came into town.

The trouble with New York is the weather.

Do I have to say that word humidity?

The trouble with New York is the weather.

And you know how horrid torrid days can be.

It ain’t got England’s fog,

California’s’ smog,

Or the Mississippi floods that rush.

But I’ll bet you ain’t seen

Forty-second Street clean

When each New Yorker’s done his job making slush.

The trouble with New York is the weather.

On those icy street one falls upon one’s face.

But the New York streets I’d roam

If you’ only go on home,

And get out of this g-d damned place.

©The Trouble With New York 1.54 (idea by Bud Charles Strouse)


Arlene Corwin


Passing Thoughts Of A Bridesmaid 1954


     Passing Thoughts Of A Bridesmaid Come From A Wedding

She looked so charmingly blush

éd andEverything and every way a bride should

Look. He, strong and comforting.

Everything and every way a groom could

Look without seeming quite as if

He wasn’t sure it was really worth stiff

Collar, tie and hat,

“Dahling, you look…” chat.

Reception was, to say the least,

A success, and the feast

One of succulence. Bride

Danced with all of the gifting guests.

Groom tried his best to hide

From nests of guests

Which kept bride at bay – bride away. So,

With the party de-parted

Without delay,

Couple exchanged a glance. Started

Off. Oh, what a day!

What to do with that bouquet

Of roses? It’s ten P.M. now.

He and she must be… nineteen years old.

I should probably…but there’s the sorrow?

Perhaps not, but… this bed is cold.

©Passing Thoughts Of A Bridesmaid Come From A Wedding 54.3/ rev07.8.12

Circling Round Woman; Love Relationships; Pure Nakedness; Special People Special Occasions;

Arlene Corwin





Lullaby of Birdland 1954

          Lullaby of Birdland

Night after night I close my eyes,

Let the music hypnotize me.

Night after night the music goes round in my head,

As I lie in my bed.

Its haunting strain that numbs my brain

Brings on sleep like Novacaine.

That haunting music serves as my lullaby:

The lullaby of Birdland.

Let love be gay as it pleases.

Let love betray me and go.

I cure al love-caused diseases,

Long as I hear my radio.

Day after day don’t mourn or grieve,

Wear my mask from dawn to eve.

But comes the night I sigh

With my lullaby:

The lullaby of Birdland.

©Lullaby Of Birdland 54.2 (music: George Shearing)

Lyrics (written before there was any other lyric)

Arlene Corwin

In The Space Of A Dream 1954

           In The Space Of A Dream

In the space of a dream you appeared to me.

In the face of a dream, you altered the course of my cloud,

All it took was a glance.

In the space of a dream life steered freely,

Losing trace of the scheme of the faltering force of the crowd.

Just one look, then romance.

First our eyes met; something found.

Then our lips: not a sound.

Then our minds, and we were bound

By eternity.

In the space of a dream life had cleared a path,

And in place of a dream there was you.

©In The Space Of A Dream 54.12

Lyrics; Love Relationships;

Arlene Corwin


I Want You 1954

               I Want You

I want to feel your moist mouth on mine.

I want to touch each lithe liquid line.

I want to feel one pulse where there had been two:

I want you.

I want our breaths to meet in the air.

I want to know each wave of your hair.

I want a perfect fusion of two:

I want you.

I want to hear you voice

And know how you talk.

I want to see you move,

Know how you walk.

I want to know what depths you can reach,

What heights you can climb.

And after years when wanting has waned,

That perfect union will have remained,

Because I got what I wanted in you.

©I Want You 54. 3. 3*

Lyrics; Love Relationships; Circling Round Eros;

Arlene Corwin

*Notice the date. It could have been called Immature and Uninexperienced.

I Search For You 1954

I Search For You

(music based on Bach’s Fugue in C minor)


It would be with such rejoice

Could I hear your voice.

Could I touch your lips

With my fingertips,

Rejoice I would.


When you left my side,

With you left my pride.

With humbled heart I yearn;

I beg for your return.

With feverish love I search for you.

Had I only seen

What a touch could mean,

And how your silken feel

Could make existence real

Nurturing love for two.

Years will find my quest as strong

As the love we knew.

So I’ll not rest as long

As I search for you.

©I Search For You 54.2.23

Lyrics; Arlene Corwin

Early Autumn 1954

         Early AutumnSeems like an early autumn this year.

One feels his fancy turning to fear.

The wind’s a bit too cool,

The leaves a bit too dry,

And just by gazing up

You see that birds are flying high –

Anxious to leave the sky

And head for warmer weather.

Seems like an early autumn this moon,

And all the leaves are tuning red too soon.

The skies grow dark as June has meekly passed.

The summer’s run away, while autumn’s come too fast.

© Early Autumn 1954

Circling Round Nature; Lyrics;

Arlene Corwin


Cindy’s Gone 1954


              Cindy’s Gone

(An exercise using a made-up phrase)

Cindy’s gone. You don’t know what to do.

You allowed her to open the mind that was you.

She ran through your head unconfined, then she flew.

What gardens, what unions, pre-Cind-;

Botanical triflings of scorch, scorn and scoring

Relationships stifled by boredom and whoring,

You one by one would rescind.

You weren’t prepared to have such a woman;

You ought not have dared to love such a woman,

A woman like that must be free – dependently.

You had to learn how to love right.

To love is to not, I said not hold on tight,

For it frightens the child who is loving and mild

Into going quite wild

Looking for a playmate, a runaway mate.

Cindy’s gone to a man-child again;

See her duty to him (love she must),

Sow the beauty in him, leave. Mere dust.

When emotion reluctantly goes back to sleep,

And the flush of her cheek is an ocean of past,

The crush of emotion goes back to the deep,

Rushing rush, streaking streak: gentle motion at last.

You uncover a leak in the dyke,

And discover a notion or two that you like.

You laugh, for your guests are no more than bequests

Of the frank, groping selfish un-nameable child-girl;

The grit-sting, oh oyster, is now undefiled pearl.

There’s love; there’s pain.

It’s plain

How and that you did sip

From a wine taster’s draught of relationship –

Vintage year.

Cindy’s gone. You know how to react.

It was part of the pact that you’d tactfully pack

And face up to the fact that she’s gone.


Can form, can grace,

Can air, can space,

Can any fair face

In the human or animal race

Be called mine?©


Cindy’s Gone 1954 Love Relationships; Arlene CorwinNote: This really was just an exercise. I never knew a Cindy. (I don’t even like the name.

It sounds a bit slick.) I had nothing of importance to say.

I was probably exploring what little I saw in myself and understood of my limited life/love

experience. I don’t remember. All I knew was that I had to write. That’s the most interesting part

of this poem for me. 06.9.6





Previous Older Entries

%d bloggers like this: