BtZ42/10: Cherokee

[Keith Davis]

This doesn't have anything to do with anything...random..."if hooks could kill".

Www.innergroovemusic.com

> On May 26, 2016, at 3:49 PM, ish mailian <ishmailian at gmail.com> wrote:
> 
> https://www.youtube.com/watch?v=Nf34QnykJJ0
> 
>> On Sun, May 22, 2016 at 8:53 PM, Keith Davis <kbob42 at gmail.com> wrote:
>> Another small bit. The "channel" to Cherokee means the bridge. It's
>> challenging, especially at a fast tempo, because it modulates first to the
>> key of B, then A, two not so easy keys to play in.
>> One of my compatriots from cruise ship days, upon imbibing a few more than
>> absolutely necessary pulls from the bottle, liked to intone, "Yeah, but can
>> he play the fuckin' bridge to Cherokee?!"....
>> 
>> Www.innergroovemusic.com
>> 
>> On May 22, 2016, at 5:44 PM, Keith Davis <kbob42 at gmail.com> wrote:
>> 
>> This is a great observation Mark. Pynchon's writing is very "jazz-like", in
>> the stream of consciousness, following up tangents, tying things in
>> together, or not, being willing to give any idea the opportunity of
>> development. I would say that that's an ideal, it doesn't mean it always
>> works in practice. It's interesting to me that Pynchon and Keith Jarrett
>> share the same birthday, two of the great followers of tangents in their
>> respective arts.
>> 
>> Www.innergroovemusic.com
>> 
>> On May 22, 2016, at 5:13 PM, Mark Kohut <mark.kohut at gmail.com> wrote:
>> 
>> Janos wites: Meanwhile, in 1939, Charlie Parker did find out, playing
>> "Cherokee" at a jam session, how to use the top notes of the chords "to
>> break up the melody" - an act of musical deconstruction, and, considering
>> "the lie" of the song, political. (And the very inception of modern jazz.)
>> 
>> And trying again to understand given my tin ear:
>> According to an interview Parker gave in the 1950s, one night in 1939 he was
>> playing "Cherokee" in a jam session with guitarist William "Biddy" Fleet
>> when he hit upon a method for developing his solos that enabled one of his
>> main musical innovations. He realized that the 12 semitones of the chromatic
>> scale can lead melodically to any key, breaking some of the confines of
>> simpler jazz soloing.
>> 
>> I know nothing about music but these descriptive words sure sound like they
>> might be used about Pynchon's writing in Gravity's Rainbow. ....I mean,
>> musicians and appreciators..."breaking up the melody"...&..."can lead
>> melodically
>> to any key"........sound like how some of the flashbacks and side bits work
>> within all the 'semitones' of the whole chromatic scale that is GR.
>> 
>>> On Sun, May 22, 2016 at 10:44 AM, János Széky <miksaapja at gmail.com> wrote:
>>> 
>>> 63 (Viking)
>>> 
>>> "Cherokee" (the song) was written by English expat Ray Noble in 1938.
>>> 
>>> The lyrics go:
>>> 
>>> "Sweet Indian maiden, since first I met you,
>>> I can't forget you, Cherokee sweetheart.
>>> 
>>> Child of the prairie, your love keeps calling,
>>> My heart enthralling, Cherokee.
>>> 
>>> Dreams of summertime, of lovertime gone by,
>>> Throng my memory so tenderly, and sigh. My
>>> 
>>> Sweet Indian maiden, one day I'll hold you,
>>> In my arms fold you, Cherokee."
>>> 
>>> Charlie Barnet's uptempo, high-spirited instrumental version, which seems
>>> to be the same that "comes wailing in from the dance floor below," reached
>>> #15 in the charts in September 1939.
>>> 
>>> https://www.youtube.com/watch?v=YnNUd7NzTMo
>>> 
>>> The narrator calls it "one more lie about white crimes", referring, of
>>> course, to the Trail of Tears, arguably the closest thing to genocide in
>>> American history.
>>> 
>>> Meanwhile, in 1939, Charlie Parker did find out, playing "Cherokee" at a
>>> jam session, how to use the top notes of the chords "to break up the melody"
>>> - an act of musical deconstruction, and, considering "the lie" of the song,
>>> political. (And the very inception of modern jazz.)
>>> 
>>> "/His/ trip by'39, well begun" - he was an addict by then.
>>> 
>>> So 64 (Viking): "the saxes downstair getting into some, oh really weird
>>> shit. . . ." That's shit in all three senses.
> -
> Pynchon-l / http://www.waste.org/mail/?list=pynchon-l
-
Pynchon-l / http://www.waste.org/mail/?list=pynchon-l