The classical definition of Jam Session seems to have been coined by George Frazier in the thirties of the last century: an informal gathering of jazz musicians, with a temperamental affinity, who play unscripted and unrehearsed music for their own enjoyment. Then the term was extended to other musical genres to refer to the improvisation and intervention of pieces that were known or unknown by the participating musicians: a release.
The jam was always a subversive practice before the rules and interests of the music industry, situating itself outside of conventional stages, with creative freedom and for pleasure. The “sub-genre” turned out to be so attractive that it was soon formalized without the loss of its initial exploratory and ludic touch. And nothing is more delicious than a jam of rock, salsa, or even classical musicians.
This compilation gathers authors and works hailing from different throughout the country, and thus it proudly offers a sampling of the current state of Venezuelan poetry. It portrays concerns, looks, ways of facing reality and variegated poetic enquiries. The upshot is a chorus of rhythmic dissonances, with their differences and encounters, their histories and their pauses.
In this book we reflect combinatory convolutions. We have focused on the words, their themes, their silences. Hence, it is not an anthology in a formal sense: the authors do not appear in either chronological or alphabetical order. Neither are there footnotes or bibliographical references, but their biographical pages are indeed there as an epilogue.
— Kira Kariakin, Jacqueline Goldberg, Georgina Ramírez, Keila Vall de la VIlle