The Myth Of Separation or, You’re Me, I’m You 2013

The Myth Of Separation

Or, You’re Me – I’m You


I know what’s wrong with you because

I’ve got it too.  It is what’s wrong

With me.  I know your weaknesses,

You fears, your sicknesses.

I also know your strengths because

I’ve got them too.

I recognize you noble sides,

Your talents, for,

Despite our different names, I’m you.


I thought of going further

Reaching some conclusion,

But I’ll leave it there

For you, who see through separation’s myth to dis-illusion,

Understanding fusion,

Disentwining false belief  from all that’s true,

The genuine, which always culls a chosen few.

At bottom you are me, you see –

And I am near-ly, really you.


The Myth Of Separation Or, You’re Me, I’m You 3.3.1998/revised 5.26.2013

I Is Always You Is We;

Arlene Corwin







In A Sea Of Indefinite Tonality 1998

In A Sea Of Indefinite Tonality*


When I write I choose the ‘I’

To work out questions.

By the by,

The process opens up to hope,

Enabling, ennobling,

Rising like a little bird,

A fledgling bird

With soft-down hops that grow in scope

And magnitude.  It improvises

Till the flight is executed,

Taken up above the rooftops –

Earthiness conjoined to sky,

Combined to ply

The answer out of

All the early wasted movement.


In A Sea Of Indefinite Tonality 4.8.1998

The Processes: Creative, Thinking, Meditative; Vaguely About Music;

Arlene Corwin


* Quote from Simon Rattle


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.

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Just Out Of Love 1998


         Just Out Of Love
Just out of love

He grabs my breast.

Just out of love

I touch his balls or dick or chest.

Just out of love there is no sex,

No heat, no passion, ecstasy,

Just passing touches,

Grabbings mild,

Biggles giggles



A frilly Wonderland.

His hand, my hand allowed a freedom

Without fear or looking forward:

No anxiety untoward: no

-I’ve a headache, dear.

-I’ve got to come.

-Too fast.

-Go slow.

-Right there.

-No here.

None of the forcing, so exhausting,

Stress producing



Digging into time above,

Not necessarily from love above.

When out of love I squeeze his thigh,

There’s nothing that I want.

It’s milk; it’s silk.

It makes me high – this passing by.

It is a statement made from joy.

This is a loving built on liking,

Built on leisure,

Equal to the nicest pleasure;

This is the fine, sunshine of body.


Just Out Of Love 98.11.28

Love Relationships; Circling Round Eros;

Arlene Corwin



Lazy Man’s Confession 1998

                  Lazy Man’s Confession  (When The Dictionary’s In The Other Room)

When the word will not come to mind,

I simply form a concept-word that’s easier to find.

A compound of two words will do –

It gets the notion ‘cross to you,

Which is all that one wants

If what one wants to say is true.

(Notice I don’t say “is new”;

There’s nothing ‘new’); the mystic sleuth

Concerns itself with finding truth

To pass from self to all-the-yous

On the most golden plate at hand.

©Lazy Man’s Confession 1998

A Sense Of The Ridiculous; The Processes: Creative, Thinking, Meditative;

Arlene Corwin



Just Out Of Love 1998


      Just Out Of LoveJust out of love

He grabs my breast.

Just out of love

I touch his balls or dick or chest.

Just out of love there is no sex,

No heat, no passion, ecstasy,

Just passing touches,

Grabbings mild,

Biggles giggles



A frilly Wonderland.

His hand, my hand allowed a freedom

Without fear or looking forward:

No anxiety untoward: no

-I’ve a headache, dear.

-I’ve got to come.

-Too fast.

-Go slow.

-Right there.

-No here.

None of the forcing, so exhausting,

Stress producing



Digging into time above,

Not necessarily from love above.


When out of love I squeeze his thigh,

There’s nothing that I want.

It’s milk; it’s silk.

It makes me high – this passing by.

It is a statement made from joy.

This is a loving built on liking,

Built on leisure,

Equal to the nicest pleasure;

This is the fine, sunshine of body.

Just Out Of Love 98.11.28

Love Relationships; Circling Round Eros;

Arlene Corwin


It Happens Suddenly 1998

       It Happens Suddenly

It happens suddenly. The stage:

A day, two days, a week – not more;

One hopes not more than seven days

Of listless lying in this cage –

Lying lion, padlocked door.

Dull and purposeless the phase,

A dozy wad of forceless ‘bod’;

The live physique, the moving form,

The very force that slows you up

Lets you down

And stops you in your tracks.

Which the servant, which the master?

Microbe, hormone, enzyme, gene?

Within their root harangue disaster

Stagnates, corpse-like,

“Health, ill health” the daisy game.

Inertia in its very static feels like bliss –

Even in its aimlessness:

This mystery and curse.

Sky keeps alternating.

Swedish clouds belie a sun

Which, in a fifteen minute spell,

Warms chin, the room I’m in,

A hazy dell and then I’m well.

Well enough to sense the sage

Behind the hidden goings on,

Despite this cage;

Sense the causes, look at seasons,

Guess at reasons

Spring gets sprung, the lung of nature

Gets its leaves,

Old gets young again and summer

Takes its place with grace. Sheaves

Of projects still to do:

I will spring to life anew.

It happens suddenly.

©It Happens Suddenly 98.5.7

Circling Round Nature;

Arlene Corwin






I’m Looking At A Painted Egg 1998

       I’m Looking At A Painted Egg

I’m looking at a painted egg;

A Chinese lacquered painted egg.

Now, if the universe is egg,

(Or, if the One is shaped like egg,)

Since surely we have eggs around

And in us, forming lives and life

Inside and bursting out big-bang)

Then dainty painted

Egg is sainted.

On the shell a light pink lotus;

Lustrous atlas of the conscience –

What we should and should not be:

Logogram of purity.

There beside sits lacquered Buddha,

Smiling in shellacky Buddha.

To be Buddha if we could’a

Is the song that Buddha sang,

The gong he rang:

Two small symbols out of time;

Parent-rungs on which to hang,

And for the favored – rungs to climb.

I’m looking at the painted, sainted,

Utterly attained, untainted




I’m Looking At A Painted Egg 98.6.18

If I Became A Cello Bow 1998

       If I Became A Cello Bow 

If I became a cello bow

It still would be me anyhow.

If I woke up a year from now,

There would be me inside the brow:

A cow, a sow, a doe, a crow –

A self could never stop the flow,

Give up the special, endless glow

That makes it go

From age to age and know

Just who

It is.




If I Became A Cello Bow 98.7.9

Idiosyncratic, Or Just Plain Inept? #2 1998


      Idiosyncratic, Or Just Plain Inept?#2


It’s either idiosyncratic

Or just plain inept,

And verse

That’s personal

May make it worse.


Though terse,

It may be odd and bad.

The message may

Be tedious:

A sausage

Stuffed with corn and grease –

A piece

Of well-intentioned pap:



Who can know?

Not I,

Nor you –

Oh, pooh!

Cry, lie or die;

Dream, scream or squirm

To touch the skies –

There is no choice.

The idiosyncratic voice

That can’t keep still

Has no free will

And no one can say otherwise.



Idiosyncratic Or Just Plain Inept? 98.12.3The Processes: Creative, Thinking, Meditative; A Sense Of The Ridiculous;

Arlene Corwin


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