Kind Hearted Woman Blues

So far, I have resisted writing about Robert Johnson on this blog. I love Robert Johnson, but it feels so corny to be yet another a white dude rhapsodizing about him. However, Robert Johnson is so sublimely great that he leaves me no choice.

Robert Johnson’s life is famously not well documented, and his fans have filled the vacuum with endless mythologizing. I find it distasteful to read about him selling his soul to the devil to get good at guitar. It’s patronizing. Doesn’t it seem more likely that he got so good by just practicing a lot? Rather than engaging with all of that nonsense, I would prefer to focus on his music. Here’s the first song Robert Johnson ever recorded.

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Sonnymoon for Two

Sonny Rollins is a justifiably famous for his improvising, but he has also written several jazz standards that are as catchy as anything on top 40 radio: “St Thomas,” “Pent Up House,” “Doxy,” and the stickiest earworm for me personally, “Sonnymoon for Two.” Here’s an early studio recording:

Here’s the really famous version, from the Village Vanguard in 1957:

And here’s Horace Parlan quoting it in “Jelly Roll” by Charles Mingus:

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My Favorite Things

My kids have been watching The Sound of Music a lot lately. I have known many of the songs since elementary school, but I somehow never got around to watching the movie until now. Apparently it was Rodgers and Hammerstein’s last musical, and boy did they leave it all on the stage. I was sitting there going, “Oh snap, that song is from this movie too?” It probably supplied half the repertoire for my elementary general music class. When I sang “My Favorite Things” all those times, I thought about the words, but not much about the tune itself.

John Coltrane, on the other hand, thought very hard about the tune, and radically remade it on his famous album of the same name. The album came out only a year after The Sound of Music debuted on Broadway. I struggle to imagine how it must have sounded back then. Like, imagine if in 2017, Kendrick Lamar had released an avant-garde thirteen-minute reworking of “You’re Welcome” from Moana, maybe that would be comparable?

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The best guitar solo ever recorded

The best guitar solo ever recorded is in Prince’s 1986 classic “Kiss.” Don’t be fooled by Wendy Melvoin’s mimed guitar playing in the video; Prince himself played the solo.

It might seem unfair that one of the best singers, songwriters, dancers, bandleaders and producers in history should also have played history’s best guitar solo, but, well, facts are facts.

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Miles Davis – In a Silent Way

In a Silent Way is my favorite Miles Davis album, possibly my favorite jazz album, and one of my favorite works of music generally. Most of Miles’ music of this era is ornery and angular, but In a Silent Way is like slipping into a warm bath. The music hardly sounds like “jazz” at all. It has elements of rock and funk, but it doesn’t really sound like those either. With its three keyboard players, ultra-minimal drums and static harmonies, the album sounds more like ambient electronic music than anything else. Two of the three “songs” were built from tape editing in postproduction, effectively making them remixes of themselves. And while the music as performed was largely improvised, the album has clear large-scale organization.

How great is this album cover? Like the music itself, it’s deceptively simple and minimal, but bottomless in its implications.
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The NYU Music Education Popular Music Practicum

This year, for the first time, I’m co-teaching the NYU Steinhardt Music Education Popular Music Practicum with Dr Kimberly McCord. Kimberly is doing the first half of the semester, and I’m doing the second half. She’s covering live performance and improvisation in the rock and “modern band” idioms, and I’m doing songwriting and remixing in the hip-hop and dance music idioms. This is an opportunity to put some my long-standing theories into practice, so I am excited.

Here’s a summary of what we’re doing.

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Rhythm-a-Ning

After doing “Straight, No Chaser,” I’m now diving into another one of Monk’s greatest hits, “Rhythm-a-Ning,” at the request of Christian Gentry. Monk’s take on the ubiquitous “I Got Rhythm” chord progression has a lot in common with “Straight, No Chaser.” They both use the most generic materials possible to produce something that still sounds fresh seventy years after they were composed. The melodies are catchy enough to whistle in the proverbial bathtub, but when you dig in intellectually, they reveal endless weirdness.

The name “Rhythm-a-Ning” is probably a playful mispronunciation of “rhythm-ing”, and that deliberate stumble sums up the tune’s aesthetic. My favorite recording is the relatively sedate version that Monk did in 1963. But this is only “sedate” by Monk standards. Listen to his comping behind Charlie Rouse’s tenor sax solo; no one else plays like that.

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Adam Neely video on rap covers

I have been enjoying Adam Neely’s videos for a few years, so it was pretty exciting when he asked me to help out with his recent examination of white supremacy and music theory. It was even more exciting when he invited me to do an interview on the problem of the white rap cover. See the result here:

Seeing Adam’s process from the inside gives me great respect for his skills as an editor. He had a list of questions for the interview, but it was free-flowing and jumped around on many tangents. The tight and logical sequence of ideas you see above is the result of postproduction. 

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