[Dixielandjazz] By George, Ned, half the friggin' secret is sloth!

[David Gannett]

All I can say Will, is that your erudite, excessive and ebullient vocabulary MAKES ME HOT!!!  RRRrrrrruffff!!!
(Remember that one Sacto fest when we found the saddle and nerf spurs?)

HCP - Mr. Bison


> ----- Original Message -----
> From: "will connelly" <willconnelly at BELLSOUTH.NET>
> To: "Dave Gannett" <evidence at otelco.net>
> Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
> Subject: By George, Ned, half the friggin' secret is sloth!
> Date: Mon, 13 Jul 2009 16:04:27 -0400
> 
> 
> It is futile to argue with the peripatetic, omniscient and all-around
> seer plenipotentiary, His Exalted and Fragrant Cerebral Phosphorescence,
> who sat for a time at the Right Hand of the late K.O. Eckland to mentor
> and nourish the ninds, even as now, of unwashed multitudes.
> 
> As the Maestro would have  taught had he not been so busy illuminating
> the root truth that we, by gum, invented jazz, a significant difference
> exists between how youthers are instructed and how they learn music in
> the US and in other lands.
> 
> Fewer than one in a hundred US brass students, for example,  begin to
> achieve the near sinusoidal tonal purity, precision attack on each and
> every note at any tempo, and mastery of embellishments that toungle many
> a US tang but which are de regueur for British brass band artisans.
> The Brits In America, on the other hand, the main function of music
> education is to provide the athletic department with a band at half time
> during varsity football games. It is small wonder that members of bands
> that must swing and sway,   and in which sousaphone players must
> pirouette upon stages of mud, grass and snow might evoke a certain
> sloppiness in intonation and articulation  and carry these aptitudes
> into the saloon, there to productively employ the unusual chord
> progression learned by tripping in a gopher hole at the thirty yard
> line, the millisecond advance or retard of a note, and the  random
> semitone deviation as elements of jazz innovation.
> 
> The musical sloth that distinguishes jazz from lesser forms is also 
> attributable to the fact that jazz plaayers areintrinsicaly 
> romantic figures who get laid a lot and sccordingly have less tim 
> for practice
> 
> Respectfully submitted ... and
> Kindly,
> Will Connelly

>