BtZ42/10: Cherokee

[ish mailian]

And Negrophobia is an urban parable too cause shit happens>

http://www.bookkaholic.com/scatological-literature/
http://www.publishersweekly.com/978-0-8065-1293-8

On Fri, May 27, 2016 at 11:05 AM, Keith Davis <kbob42 at gmail.com> wrote:
> 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