Sam Cooke – Bring It On Home To Me [Live]
Got ‘SHOOK’ this morning. Powerful.
Got ‘SHOOK’ this morning. Powerful.
Drawing one from a Cat whose #urbanmusicology I rate HIGHLY.
Singer, Songwriter, Player, Producer, all round HEAVYWEIGHT of the AUTHENTIC music game whose ear is ALWAYS to the ground and finger ALWAYS on the pulse…
I could wax on and on and on and on and on about the mans musical achievements and but, as themusicologist regulars know, this space is about the MUSIC rather than the ‘chat’ so here it is…
Drawn from ‘The Way I See It’ set…
Since Our Last Goodbye – the Menahan Street Band
ConZu..Until we meet again hold this piece…Every time I hear it I feel your presence.Dad xx
“The eruption of feelings and emotions that follows a near-death experience, or any event that causes us to stop and look deeply at the reality of our lives, is ripe with the potential for insight & clarity.” – Allan Lokus
Until we meet again ConZu…x
“I began to understand that suffering and disappointments and melancholy are there not to vex us or cheapen us or deprive us of our dignity but to mature and transfigure us.”
Blue Night – Jimmy Beck & His Orchestra
Clear thought lodges in the Yi,
But in some lines no-one can find it.
If you don’t understand a line,
You interpret it in vain;
May as well paint a picture of the wind.
– Qiu Cheng (12th Century)
Ain’t No Love In The Heart Of The City – Bobby Bland
“Dimensions are limitless; time is endless. Conditions are not invariable; terms are not final. Thus, the wise man looks into space, and does not regard the small as too little, nor the great as too much; for he knows that there is no limit to dimension. He looks back into the past, and does not grieve over what is far off, nor rejoice over what is near; for he knows that time is without end. He investigates fullness and decay, and does not rejoice if he succeeds, nor lament if he fails; for he knows that conditions are not invariable. He who clearly apprehends the scheme of existence does not rejoice over life, nor repine at death; for he knows that terms are not final“. – Zhuangzi (Chuang Tzu)
3 x 7 = 21 … For those who know
Always in my Heart, Soul and Thoughts Conzu..Sometimes the reality almost crushes me but your strength sees me through.
Until we meet again x
back in the ‘nubag’ saddle. RASCAL of a year so far but ‘che sera‘. As we roll, HOLD this BOSS, BURIAL, Crescent City, piece of urbane musicology from the pioneering, majestic Little Richard. Recorded, of course, at (Father) Cosimo Mattassa’s studio. The ONE and only spot to record for Cats who knew what it was..is..and will always be about.
The image is one of an (in)famous street in the heart of MY ‘town’ .. London. Where me and the ancestors have been roaming and rolling since, (at least) the 1700’s.
First outing on themusicologist for the multi talented Troy ‘Trombone Shorty’ Andrews a cat who was BORN and RAISED with brass in his mouth.
“So advanced was he that, at the age of EIGHT, a club in the city’s Tremé district, where he was born and raised, was named Trombone Shorts in his honor”. – Thom Jurek
This 2011 cut is highlighted from the ‘Backatown’ set which features, (among others), one of Nola’s GREATEST urbanemusicologists the majestic Allen Toussaint whose first, (credited), production the 1960 recorded mod/ern/ist R&B classic ‘Ooh Poo Pah Doo’, (musicology #334), was for Troy Andrews’ grandfather, (Jesse Hill).
“What we tried to do with the record is capture what we do live and then just tighten it up a little bit, make it translate on record. Live, we may come across some stuff and jam on it, but the record brings it in and focuses on what we needed to do. We worked hard and we didn’t rush it. I think we alright with this one.” – Troy Andrews
Majestic piece from the mighty Lloyd ‘Bullwackie’ Barnes featuring the lilting, sufferers vocals of Junior Delahaye.
Maximum respect due to all the sufferers, rebels, nuwave navigators and knowledge hustlers who feel the vibrations of a changing world. Continue to spread/share the ‘wealth’ as you crawl, walk, run along the way.
long time comrades in, (musical), arms of the ‘project/diary/soundtrack’ will know that for me Sidney Bechet is one of the GIANTS of improvisation/jazz/recorded music etc.
One of the MASTERS of the art that I have been blessed enough to have stumbled across along ‘the way’. Apprentice’ and Journeymen are in abundance. Masters are few and far between.
Second time on themusicologist for this one..if i was asked “what is music?” i would pull this one out. listen to Bechet blow and how he drives the intensity, demanding that the other cats on the session step up.Which, of course, they do.
Had me nut down over the past few weeks studying for an exam I sat on Friday.
the incredible drawing is by the legendary, pioneer of contemporary neuroscience, Ramon y Cajal. Pathologist, histologist, neuroscientist, and Nobel laureate, (not to mention artist).
African Funk selection..
keep yer nose out me beeswax…
a personal favourite for themusicologist, RICH in memories of exposure to this set, Innervisions, as an impressionable 5 year old in 1973. Stevie was one of the BIG hitters on the stereo in them early years and Innervisions is a testement to the mans greatness, (having played and sung every part on this cut). I can almost taste the air of 1973 so strong and powerful are the connections.
Heavyweight (mid 70’s) funk critique of this ‘Old World’.
From a time when music (the voice of the people) was critical…
The ‘secret’ power of music to influence ‘the group’ has been abused by the power structure over the centuries but, from my perspective, it’s in the 20th Century that we see the abuse of music, OUR greatest achievement, at it’s most cynical.
Hogarth’s critical ‘the Times’ (Plate II) slots harmoniously into the narrative…
MAJOR selection from Sonny Boy Williamson II aka ‘Rice’ Miller/Little Boy Blue/Little Willie. Recorded and released in ‘Chi at/for Chess in 1959.
BIG DATA is on us like flies round shit..
“Boys you better be careful about what you say or do,
better be careful boys about…what you say and do,
that unseeing eye…just keep on watching you..”
KILLER ‘early’ Soul cut from the 17 year old Betty LaVette. 1963 release on the Atlantic Label.
Think of this as yesterdays cut..yer man was ‘under the cloud’ and wasn’t around to post it.
“Don’t promise me nothing if you can’t stick to your word”
Moving out of the Sam Cooke and into the (real) Rhythm and Blues with the pioneering Otis Blackwell. This, his first cut, recorded/released in 1952 was the start of a long, illustrious career. Best known as a songwriter, (publicly), Otis was a DON of Rhythm and Blues and had a MAJOR influence on ‘Rock and Roll’ penning two of Elvis’ biggest cuts as well as tunes by, (among others), Jerry Lee Lewis and Dee Clark.
BIG piece of tune….Connoisseurs selection.