JSngry

The Devil's Daughter Ian Underwood John Hamm

Sorry to hear that. How old is he now? I have him on a Billy Wooten record!

Oh my lord, who knows how many bowel movements later, and Charlie & Rebecca are still in love and still at home, albeit in a confused kind of way, not that we'd want to be kept aware of that, because DAMN does this thing ramble...all...over...the...fucking...place...and sometimes, like where I'm up to now, where Jay McShann talks about the importance to both self and community of pride and grace and hard work and presentation, how excellence of food, clothing, and grooming were all of a singular piece in defining not just one's self but one's totality, yeah, I'm mesmerized, transfixed, feeling good about what I'm reading. But lord lord LORD there's some long walks down straight-line desert highways between those spots. I understand what kind of book the guy's trying to write (it is The Rise & Times Of Charlie Parker, after all), I really do. And I think it's a valid reason, an important reason, actually. But...this is one of those "hey man, I really dig what you're trying to do" things in the extreme. I mean, if I had written this book, I'd be very proud of it, until I sat down to read it. And then I'd be like, oh god, oh dear god, what was I thinking? And then, Charlie Parker bio becomes Jack In the Box commercial. When I get through this thing, I will be glad to have read it, and equally glad to have survived it. I'll try to remember the good parts and forget the bad, but...good luck on that, unfortunately. Seriously, unfortunately. The raw materials are there, delightfully so, but...just too damn "epic" Stanley, too damn "epic"...the subject deserves better than "epic". A better author and/or editor could have turned this thing into a stunning oral history with just enough side-narration to hold it together and be really impactful/insightful. But no, this guy's gotta go all "epic" and shit. The story tells itself grandly, ok, it doesn't need a "director", it just needs directing. Hell, Jay McShann has me ready to go get a few new suits in the morning and hit the barber shop that afternoon (and do god knows what with the results in the evening). I haven't felt that way in decades. But that's Jay McShann, dig? Not Stanley Crouch. Besides, paying for it all with plastic makes it less real, somehow at some level. Sign of the times, I guess. The Fall & Times of American Humanity, perhaps. Please god, don't let Stanley write that book (again). Please.

Happy Birthday indeed! I know it's your 72nd, but how old are you?

David Rose Rose Royce Royce Reed

Slide Hampton Slyde Hyde Scott Seeke

Sy Oliver, or Sy Johnson? Probably not Syl Jonson, though!

It took us forever to start watching it (it's just been the last two weeks that we've watched a first-run episode in real time on AMC...COMMERCIALS!!!!!), but I was hooked the first time I did. I almost chose advertising as a career out of high school, just because I could see even then how much unlimited fun and reward there was in creating truth based on lies based on the truth that people gonna believe something, and have wants as a result, so why not this, and why not me to make the money doing it? That, and the more you lie to everybody, the more they all believe you (and/or in you), even if their belief takes the form of a disbelief - you still got 'em right where you can still use 'em. But instead of that, I chose music education to major in, and then actually playing to actually do, and now, just a regular day gig, so hell, the only real difference is that I didn't get that money, which sure, those who also didn't get it say, "well, that's for the best, it would only fuck you up like it does everybody!" but really? That money still got gotten, it's not like if I didn't make it then nobody would. Hell, I didn't sell my soul for the money, but I sure as hell sold my money for my soul, and I don't know but that a fairer and/or harder bargain shouldn't have been made. Anyway, love the show, everybody's an evil asshole except when they're not, and then they're not. Until they are again.If there's anybody about whom that's not the ultimate truth, the difference being in the proportion, not in the being, then hello world that does not exist, does not. Has Don Draper ever not been damaged goods? That's kinda been like the basic premise from jump, eh?

The Louis Jordan influence has been a part of Rollins' playing from the beginning, and he's never attempted to back away from or disavow it, ever, quite the contrary, but...it's real, and it's huge, still. Those stabby things he's always playing, and the braying tonal effects, those have never left Sony's playing, and if he'd never mention Louis Jordan, I don't think you'd necessarily think to make the connection, but doggone it, he always does, even in this article about Coleman Hawkins,and hello, there they are, freakin' obvious, then! Do you ever get over your first true love? Should you?

Scraggly-Faced Engagers With The Untamed Elements Of Science Unabashed Enjoyers Of The Coldest Common Beer that All Can Enjoy Together Those who are always elsewhere besides where they live.

Boots And His Buddies Boots And Her Buddies The Old Woman Who Lived In A Boot

Ho Chi Minh Taylor Ho Bynum Lee Min Ho

I'm still not convinced that the thing was originally played conceived/whatever as beginning on the upbeat of 4, all the retro video-gaming concert countoffs notwithstanding...it just does not feel like that's the idea. This YouTube offers the advantage of hearing it slowed down to half-tempo. and there it really, really sounds like that first note is a down beat. http://www.youtube.com/watch?v=427-EiWRTuw I mean, is there anything in there that suggests that either George and/or Paul had a spontaneous moment of keen rhythmic displacement/transposition that they never recreated ever again? I mean, none of these guys were John Lee Hooker or somebody, ya' know, with the beats magically disappearing and nobody getting lost when they do? You can also hear that Ringo's drum lead-in is a simple (but int he pocket, as always) 3-e-and-ah 4-e-and ONE, nothing fancy or off-beat about it, that's not what Ringo did, that's just so not what Ringo did, Ringo ain't gonna be Bill Bruford, you would not want that, Ringo would not want that, nobody would want that. So as far as creation goes, I'm still leaning towards some kind of studio construction and that phrase beginning on some kind of a downbeat, and the song proper beginning quite regularly apart from the splicing. Of course, once it's on a record, it is what it is, and what it is is a space of 17 eighth notes, and if you're gonna play that live, you gotta put 1 somewhere, right, otherwise there's no sense in counting it off. Still...I wanna hear the session tapes...I wanna hear the pieces that got put together to make this end up like this. Purple Chick, why are they not there for this song? You got almost a half hour (wasted space and time) of that blues "jam" but not one piece of this. Hey, what, is this stuff free or something?

OTOH, be thankful that you did learn math. It's a useful tool, sometimes even in music!

I would like to hear the raw session tapes before reaching any real conclusions about what it really "is". As clever and progressive as they were then (and they were very both), I don't see that intro happening organically, in real time. I just don't. They'd have to have been functioning at a level of counter-intuitiveness that runs, uh, counter to pretty much everything they'd done up to and after that point. However it came to be, though, McCartney learned it. All the live tapes I can find have that count-off and it comes in up the upbeat of 4 every time.

Doing some cursory websearch for some musiclly literate discussion of this thing, and what there is of it (which is not very much at all, everybody all obsessed with who's playing what and on what axe, hello "serious" fan(dumb) is all predicated to one degree or another on the notion that this is a construction conceived of as a 4/4 unit, and what follows from there is variants of "where does the extra eighth fall?", a conceit which I myself always held to, not really paying that much attention to the counting, having never really had to. One guy goes so far as to mock the Japanese transcribers who had it as a bar of 4/4 and a bar of 9/8 as pussies. although to my ears, that's clearly what it would be, given the bass line, if it was supposed to be a 4/4 construct. But...(and don't even look on YouTube...people be getting it right and wrong and nobody is aware of the math, which is ok for as long as it doesn't matter, and at some point it will, if only because are you smart or are you just lucky, hello money won't change you but time will take you out?) Rut...I digress. I think it's actually two 5/4 bars, with the phrase starting on the second beat of the first bar, and the last bar "artificially" shortened by a splice. The more I listen to it like that, the more organic it sounds, the more naturally it flows, the less batshit crazy it feels. So...5/4. That's the secret right there. 5/4.

Tiki Fulwood George Clinton MP

Ok, listened some more, and this works...as much as anything...the guitar comes in on the 2nd beat of a 5/4 measure, and the second measure is on its way to being another 5/4 measure until they cut it half-a-beat short. That still gives you the 4 full beats (8 eighth notes) & 4 1/2 beats (9 eighth notes) for the total of 17 eight notes, and still has the bass landing on the one ON the one, right? It counts out like this, the guitar intro does: 2-and 3-and 4-and(5)-and 1 2-and 3-and(4)-and5/ONE or in eighth-based time (but really, unless it gets freaky-proogy odd-metery, I don't think most rock bands of this or any other era counted in 8, although they sure felt it in 8...that takes away a good bit of the viscerality of syncopation, when an upbeat becomes just another number in the sequence)... ...a bar of 10/8 starting on 3, and then a full bar of 9/8 (which could just as easily have been made into another 10/8 bar by placing the splice half-a-beat later, which still has me wondering how intentional THAT part was). But start counting eighth notes at "3" when the first guitar-into note hits. You'll get to a logical "1" after 10, and then you hit the tune after the next 9, in fact, it feels logical to go another 10, the shortening to 9 is quite abrupt/"unnatural", at least once the counting becomes comfortable. It's the bass, for me, that determines where "one" is...maybe that was manipulated, but the 5/4 thing sounds real enough to me now, as a possible initial source. So I guess what I ask now is what were they playing around with in 5/4 time that led to this source material being available in the first place?

If you count the eight notes, there's 17 of them, and the 17th (i.e.) is the extra eight before the song proper starts. Mathematically, that, to me, implies two bars of four recorded separately, and then left to hang for an extra beat before the song gets spliced in. If you count the intro with a 1 starting when the bass hits the second tonic, ( and-four-and-ONE), the 9/8 counts naturally, in place. That still leaves the first 4/4 (or 8/8), and yeah, that sure doesn't fall like the guitar note is organically hitting on the one. But you can count is as a bar of 8/8, and once the second bar comes around, everything is back naturally on the one...until they add that extra eighth before it hits for real. The Purple Chick Rubber Soul sessions have some rehearsal takes for some numbers (as do all Purple Chick sets), but nothing for "Drive My Car". My gut tells me that somebody had some fun and deliberately built it that way. Seriously doubt that it was either initially designed or played live like that...for that matter, the solo itself sounds like pieces extracted/constructed, not played in real time. The rehearsal takes from the PC Revolver sessions show that to be something they were playing with (no pun intended)

Stolen Sweets Robber Baron Robert Barron

Eminem Emcee Five Embraceable You

Mothra Rah Rah Melvin Ragin

Never have seen the whole movie. Couldn't get past the ending. But, hello Kai Winding, correct?

I have pencils as well, but they're not for sale, at least not as part of the tape. Especially the Mirado Black Warriors, I love them things.