An American Poet
Emmett Wheatfall has been a poetic force in the Pacific NW. Emmett is sought out as a speaker, poet, and performer. He has written several poetry collections, has 4 lyrical poetry and jazz recordings out, 4 singles, and performs concerts of this material. Upon receiving we reached out for an interview.
Thank you for agreeing to share your time and experience with us. What does poetry mean for you?
Poetry enables me to speak in a way that inspires people to give attention to what I am saying when otherwise they would not. As a poet, I am always waiting to exhale what I see, hear, and think, not in traditional modalities. For most human beings, it is of paramount importance to be heard. Given the liberty and protection of free speech in America, conveying poetry in a non-conventional way is life-empowering. Knowing that poetry affords me the opportunity to be heard in writing and voice is life-empowering.
Can you tell us about your early encounters with both jazz and poetry? Which came first for you?
Around the year 2010, I got the idea that I wanted to recite poetic verse to music. Having been a stage actor and done some voice recording work, I felt prompted to pursue the idea. At that time, Noah Peterson of Peterson Entertainment had become a close friend. So, I approached him with the idea of recording poetry and poetry to music. Noah said, ‘let me read some of your poetry.’ A few days later, he said ‘yes.’ And the rest is history. I never imagined myself as a recording artist. But Noah saw the talent, as did other hall of fame and international musicians. I signed with Peterson Entertainment, and five albums later, we are proud of the artistic work we have recorded and produced and appreciate the way the work exists and is moving through dispensations of time.
Who are some of the poets and jazz musicians that have influenced your work the most?
Oh man! An excellent question. Of course, first and foremost honor goes to Langston Hughes, who performed and recorded poetic verse to music and is noted for performing verse to jazz and blues in nightclubs during the Harlem Renaissance Era. There is also the late great father of rap music, some say, Gil Scott-Heron, and today women like Jill Scott, and that super soul sister Erykah Badu are contemporaries. I could name a host of others, but for expediency’s sake, I will leave it at that.
Was there a defining moment when you realised you could merge poetry and jazz into a single artistic expression?
It was the third album produced by Noah Peterson through his label Peterson Entertainment. Noah composed all the music on the album. I wrote the poetic lyrics. He hired some of Oregon’s finest jazz musicians. These musicians had heard about our previous work and were willing to lend us their musicianship. The album "Them Poetry Blues" is just phenomenal and magical. The brilliance of Noah Peterson must be acknowledged for his fusing together of music, artist, and musician, which underscores the success of the album. From that point on, I knew I could perform poetic verse to music and have it welcomed by jazz, blues, and gospel artists. I am now performing with classical musicians.
In terms of your creative process, how do you balance spontaneity (a jazz hallmark) with the structure of spoken word or poetry?
I have come to understand the complexity of reciting words to music. To do so requires talent and that magical feeling of meter and melody, and sometimes no meter. Spoken word to music does not afford the artist half notes, quarter rests, and so forth. The artist sometimes must fit the verse over measures to make it work. That involves a feeling for how to emote the verse in a way that complements the texture and sound of the music. We who speak verse are what I call birds on a wire. Sometimes we do not have the benefit of a relegated meter. Conversely, 4/4 time is conducive to iambic pentameter. A good spoken word to 4/4 time, quoting a Shakespearean soliloquy from Othello, is generally possible.
What does a typical live performance look and feel like for you? Do you make room for improvisation?
Live performance is where everything comes alive. The musicians, music, words, audience, venue, it all comes together. When you have the audience locked in and attentive, digging not only what you are saying but the vibe of the musicians. It’s the vulnerability of conveying inspiration, speaking life, and sometimes pain, disappointment, even loss. To fill the air with an intersectionality of human spirit and the love for music involves words that speak in pieces of music. I love live audiences. To read them. To know if you are connecting. Performance represents the moment of truth for the artist.
‘Coming Home to You’ got up to 148 on the Jazzweek chart. How does that speak to you in terms of offering feedback for the effort you put into that body of work?
Of course, every artist wants to be noted for their creativity. So much goes into being chart-topping. A lot of that is out of the artist's control. There should be a love for the art form first. Your music must speak for itself. An artist can boast about how great a recording is, but if it does not speak for itself, there is nothing more to be said. Noah and I believe if our work was heard by a greater audience, we would sit higher on Billboard and Jazzweek charts. It can be extremely disappointing, but we press on. All our recordings have received warm and affirming feedback with nominal exceptions. Many of my self-produced recordings are being played on radio stations nationally and internationally. The data confirms that. Peterson Entertainment and I continue to work the spoken word to music genre. Noah, in my opinion, has not been heralded for the phenomenal musician and producer that he is.
How do you use your fusion of jazz and poetry to comment on social, political, or cultural issues?
Music and spoken word are powerful mediums for creative protest and social change. They have been instrumental in America's greatest social and political movements.
Has your work evolved over time in terms of tone, message, or technique?
Continuous improvement is essential, with no finish line. I strive to get better and leave a legacy.
Have you worked with African-based creatives? If yes, what challenges or insights came out of those collaborations?
I haven't had the opportunity yet but hope to in the future.
In your opinion, how can African and diasporic artists collaborate meaningfully without romanticizing or appropriating one another’s experiences?
Staying true to art forms and respecting cultural traditions is key. Exploitation through cultural appropriation is disrespectful and unacceptable.
How do you envision the future of jazz-poetry—do you see it growing, transforming, or going more digital?
Jazz-poetry is growing, and I hope to leave a legacy. I dream of its greater expression and appreciation.
Are there any upcoming projects, albums, or performances we should look out for?
My latest release, a cover of Gregory Porter's "Water Under Bridges," is receiving great radio airplay.
Thank you once again for this moment. We look forward to hearing more from you in the near future.
