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7664Re: [RedHotJazz] Re: Boyd Atkins Quinn Wilson

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  • Patrice Champarou
    Aug 27, 2009
      ----- Original Message -----
      From: "Bob Eagle" <prof_hi_jinx@...>
      To: <RedHotJazz@yahoogroups.com>
      Sent: Thursday, August 27, 2009 1:51 PM
      Subject: Re: [RedHotJazz] Re: Boyd Atkins Quinn Wilson

      > hello, I feel a discussion about "rhythmic complexity" coming on.

      > The vast majority of blues players (notable exceptions acknowledged) were
      > basic musicians who were strong on feeling. > Sometimes they had no other
      > option.

      I've always trusted that what everyone calls "feeling" (or lack of feeling)
      can be resolved by technical explanations more clearly than by some
      misterious and purely mental process.
      I don't know if McClennan should be called a "basic" musician, I'm sure he
      was not aware of the complexity of what he was doing, but I'm not surprised
      Ransom Knowling felt so comfortable backing him.
      As many Mississippians, he had inherited two types of rhythms, which can be
      "felt" at the same time in his playing : the apparent, typical ternary
      "shuffle" - probably a urban feature, learnt from pianists and early jazz
      bands by some (and not all) of the first blues guitarists - and the binary
      support on which pre-depression Delta artists had built very tricky
      syncopations, probably resulting from African reminiscences. McClennan's
      guitar often skips from one to the other, and sometimes stays in-between,
      with such amazing easiness and regularity that he seems to have two virtual
      metronomes working at the same time.
      That type of "swing" is obviously different from what was achieved by the
      Basie band, but I think it resulted from an equally subtle alchemy, applied
      to a rock-steady rhtythm.

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