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

[David Gannett]

Now THAT'S WHAT I'M TALKING ABOUT!!!!

HCP - Dave Gannett

> ----- Original Message -----
> From: "Don Ingle" <cornet at 1010internet.com>
> To: "David Gannett" <evidence at otelco.net>
> Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
> Subject: Re: [Dixielandjazz] By George, Ned,	half the friggin' secret is sloth!
> Date: Tue, 14 Jul 2009 12:41:34 -0400
> 
> 
> will connelly wrote:
> > 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
> >
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> Thank you, thank you, thank you Herr Professor Connelly for your 
> insights and judiciously findings on the development of jazz.
> 
> To have read your words of wisdom, and being put into a a state of 
> innocuous desuetude by the metabolic massage of the menses was 
> invigorating at the least. Especially the part about getting laid a 
> lot. (Perhaps I missed the workshop /lab!).
> 
> But I am indeed thankful that your have thus expressed the retort 
> to some of the meadows muffins going on far too long on this 
> thread. Perchance, we could get back to jazz which we can share 
> with a little more scope in the myriad choices we have.
> 
> I subscribe to the theory that: If it sound good, listen. If it 
> doesn't, turn it off.
> 
> Yours for further explorations of the music we call jazz but seem 
> unable to fully describe in less than 20 posts.
> 
> I recall the words of wisdom of my mentor and first teacher, Ernest 
> Loring Nichols, who summed up the basic truth to guide a life by in 
> these succinct words: "The essence of good taste is simplicity."
> 
> As an old Scottish motto goes, "having done all - stand."
> 
>  From North Michigan where the temperature two nights ago in 
> Cadillac was 34 degrees F.
> 
> Don (The glaciers are NOT melting this week) Ingle
> 
> 
> 
> 
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