A young woman walked against the traffic, downhill, the breezy orbit of her scarf—the swept springs—unconceiling her, a sonorous swerve, ringlets brunette, varnished at street corners in the dipping light of eye contact. The many dress heels to pavement, the minutes and halves of a percussion compass would offer a bliss-erratic as bright as the tours of flickers, but for the directional mechanism of depletions in reverse. Those drab-dressed, vents whipping or other exodus, the day flattening. Three months later plus an hour, the weather had returned to seasonal: granular tableau above the river’s widening, husk yellow. She repaired, at the river, to the gradations of a hill, clean grass and dusty crown overlooking an eddy revolving with one styrofoam cup. Trees across the water in woolens. The sky lofted towards the coordinates of digital transmission. To receive alloys, the subfrigid metals of static, the needle electric in the ear, despair, of the listener. An air traffic pattern was changing, a rope of departures growling at the dimming detonation of the west. “I would shrink from attackers,” she may have thought. The young woman would turn away from the laugh of a bottle-thrower breaking, perhaps, on a vacant basketball court. An open palm, she concluded, is not always grasping for a handout, but a device that measures risk. The skeptic. The skeptic.
At Baltimore’s impressive Four Hour Day Lutherie, a
multi-purpose establishment where the practice of making stringed instruments meets
the practicing musicians who make stringed and other instruments “go forth to
song”, guitar player and singer Marian McLaughlin shared the bill on November 2nd
with the improvisational project Heterodyne, formed by Mariya Shesiuk (keyboards,
synthesizer, voice) and Ted Zook, basscello. Since Heterodyne invites an
extended family of guest performers to join their appearances, I eagerly joined
as “words.” In my experience, small performance spaces often facilitate some of
the most indelible displays of musicianship, and this event at the Lutherie would
hardly derail such a theory.
Marian McLaughlin
Marian McLaughlin might describe herself as an experimental folk musician, and to that, I’d add a few humble thoughts about her indigenous
connection to guitar as well as her kindly relationship with audience. One could
ponder the mastery of technique when watching Marian play and one could ponder
the inevitable well of her abundant discoveries. I’d wager on the inner life of
the artist, the sincere weights of her process, the implicit prevalence of her storytelling
and imagery. What devotee of Debord would fail to register her travels through
numerous stations of keen hypothesis? Marian’s beckoning voice can be observed
in a constellation that clearly unifies audience members, the enviable
concertgoers who thirst for this warmth of communion.
Heterodyne: Mariya
Shesiuk and Ted Zook
Heterodyne doesn’t simply certify a state of urgency. The consequential
partnership between Mariya and Ted establishes itself in a vaulting appraisal
that situates listeners amid dilemma, some parts nocturnal, some parts urban-nocturnal,
some parts the fluidity of human resourcefulness attempting to achieve salvation,
boot-sock, boot-sock. Even as our social contracts wobble, even as alarms
signal the absence of meaningful doctrine, the music of Heterodyne proposes the
kind of ambient elasticity that can enroll all the wayward bodies who might otherwise
drift toward despondency. Optimism, we are reminded, cannot be the province of superficiality,
but could accompany the exacting genesis envisioned by Mariya and Ted.
For a free recording of Heterodyne (plus “words”) at the Four Hour Day Lutherie, click [here]
There Will Be Additional Ruckus
The very same lineup will renew the ruckus on November 16,
2017 at The Dewdrop Inn, at 8:00 p.m., in Washington, D.C. Come see Marian McLaughlin and Heterodyne (plus “words”) as we stamp our sawing & yodeling,
etc., onto worthy square footage of metropolitan terrain. Huzzah!
Welcome to Cozy Cole’s blistering R&B shaker, “Cozy’s Mambo.” This
music will make you dance, jump, and sing. Let’s get on with it, then.
Twenty-five Word Song
Review
Were there two drummers? Did Cozy have four arms? He owned a
trick drum kit, right? No, No, No. Was he tap-dancing? Oh, yeah!
We Know a Bit about
This Song
“Cozy’s Mambo” is an original.
The likely personnel include George Kelly (tenor sax); Gene
Redd (vibes); John Thomas (piano); John Faire, Fred Jordan (guitar); Edwyn
Conley (bass); and Cozy Cole (drums). Cozy recorded it in Cincinnati, Oh.
(1959) as “Cozy And Bossa” also known as “Cozy’s Mambo.” It was released as
Bethlehem 3067 and King 5303 in 1960.
We Know a Bit about
Cozy Cole
Born William Randolph Cole, and given the nicknames “Colesy”
and “Cozy” by schoolmates, the young drummer first envied Duke Ellington
drummer Sonny Greer. As a kid, Cozy learned to tap dance, and incorporated that
style into his drumming. He would eventually bridge the worlds between swing,
bebop, and rock ‘n’ roll as a drummer. According to critics, he also pioneered “hand
and foot independence” (perhaps also termed “coordinated independence”) which may
form the basis of much modern drumming.
Cozy played on “Load of Coal” aka “Load of Cole” which Jelly
Roll Morton recorded in 1930. His subsequent recordings with Cab Calloway—including
“Paradiddle” and “Ratamacue”—emphasized drums, some of the earliest recordings to do so.
In addition to his activities with Jelly Roll Morton and Cab
Calloway, he toured, appeared, or recorded with Blanche Calloway, Benny Carter,
Willie Bryant [the unofficial mayor of Harlem], Stuff Smith, Louis Armstrong,
Benny Goodman, Charlie Parker, Dizzy Gillespie, Ella Fitzgerald, and Lionel Hampton.
He was one of the first African American musicians to play in a network band,
for CBS, in the early 1940s.
Cozy recorded as leader on Love, King, Coral, Columbia, Bethlehem,
Verve, and many other labels. He appeared in several movies, including I’m in the Revue (Italian), Don’t Knock the Rock, and The Glenn Miller Story. He also featured
in Broadway musicals: Carmen Jones
and SevenLivelyArts.
Together with Gene Krupa, he co-founded a drum school that
lasted 20 years until Krupa’s death in 1973. Well after he’d established
himself professionally, Cozy enrolled at Juilliard School of Music, where he
continued to study drumming. He toured Europe with Jack Teagarden and Earth “Fatha”
Hines. He toured Africa.
Cozy Is Best Known
for “Topsy I” and “Topsy II”
In 1944, Cozy scored a minor hit with “Just One More Chance,”
which he recorded on Keynote [1300] as the leader of the Cozy Cole All Stars. The
song rose to #10 on Billboard’s Harlem Hit Parade.
Yet the drummer enjoyed national prominence when he released
“Topsy I” and “Topsy II”—a drum-inspired jazz piece spread out over two sides
of a 45—in 1958. Cozy was 49 at the time. “Topsy I” charted at #27 on Billboard’s
pop charts, but “Topsy II” reached #3 on Billboard’s pop charts and #1 on the
R&B charts. (It also reached #1 on Cash Box.) The same side also charted in
the U.K. (#29 on the pop charts.) The tiny Love Records label released “Topsy I”
and “Topsy II”; the record would sell one million copies and receive a gold disc.
In the same year, Cozy released “Turvy I” and “Turvy II.” The former didn’t
chart, but the latter would make the Billboard Hot 100, peaking at #36.
The title, “Topsy”, derived from a few different sources.
Ultimately, it may refer to Topsy herself, a character in Harriet Beecher Stowe’s
Uncle Tom’s Cabin, but it also refers
to a piece that appeared in Mr. Tom, a
folk opera written by jazz musicians Edgar Battle and Eddie Durham, also with
Peter Doraine. As Cozy recorded both “Topsy” and “Turvy”, obviously he punned
on the informal phrase, topsy-turvy. Battle and Durham composed the song “Topsy”
presumably in the 1930s, when Count Basie (1937) and Benny Goodman (1938)
recorded it.
Cozy’s Legacy
Preston Epps and Sandy Nelson both inherited from Cozy,
taking drum-themed rock ‘n’ roll recordings onto the charts. The English rock ‘n’
roll drummer Colin Powell changed his name to Cozy Powell, in tribute to his
idol. In older age, Cozy Cole earned a bachelor’s degree at Capital University
when he was awarded (as a junior) an honorary doctorate from the same school. He
passed away in 1981.
Welcome to “Great White Water,” a rowdy Shaker without identifiable musicians.
This music will make you nod your head instantly. Let’s get on with it, then.
Twenty-five Word Song
Review
Not the lovely crest of the wave, but the crashing,
turbulent, growling finale. The danger and the thrill. Which is precisely where
this song begins.
We Don’t Know
Anything about The Song’s Musicians
Whoever they are, they played this song in 1963 or 1964 as part of the
soundtrack for the 1964 beach movie, Surf
Party, starring Bobby Vinton and Patricia Morrow.
A Bit More on Surf Party
Two bands—The Routers and The Astronauts—appear as
themselves in the film. Some surf legends also appear, including Mickey Dora. Citing
it as a ripoff of the earlier film, Beach
Party, critics largely panned Surf Party
and the male leads, but did credit the leading women as having done reputable
work. The soundtrack was assembled by the legendary composer and arranger,
Jimmie Haskell, who, along with William Donaldson “By” Dunham, was credited
with writing several of the songs for Surf
Party, including “Great White Water.”
That’s about It, Folks
Our tireless discography department can now rest. If you, Dear Reader, know more about this song, please leave us a comment. Enjoy!
[Made note: Greeks do not like Al Gore, former V.P. U.S.A.] Al
Gore at the Autobus Stop, Al Gore at the Tzatziki Vendor, Al Gore in Athens, No!
This could result in Al-Gore-A-Phobia.
(2)
Received a citation for “Disturbing the Cod-Peace”, by Officer
(Miss) Demeanor. Told to leave that cod-peace in extra virgin turmoil. [Made
note: extroversion term oil.]
(3)
Decide between (a) Rockin’ the Casbah & (b) Rockin’ the
Cash Bar. [Made note: Schlitz Malt Liquor Istanbull.] Dwayne Johnson?—The Rock?—in
the Casbah? (Skip.)
(4)
Jumping ship became an art form. Sailors as artists tossing
themselves into the cold, cold briny. [Made note: Shipmates to holler “Man Oeuvre
Board!” when considering bodies of work.]
(5)
[Made note: Maneuvers & Manures.] The Hind-Lick
Maneuver, The Heinz-Lick Maneuver, Orchestral Manures in the Dark, Heimlich
Manure, Military Manures, The Hymie Lick Maneuver.
(6)
So, a guy named Walter bought a gate. [Made note: That would
be Walter’s Gate.] It didn’t keep out Republicans. Then came Congressional “Probe.”
Then came “Special” Prosecutor.
(7)
Hoity Toity physicians & their big-box booksellers.
Those medics should shop for paperbacks local. If so, they’d be Doctors Without
Borders! [Made note: French: Medecins
Sans Front Ears.]
(8)
[Made note: if The Autobahn is where Germans can drive as fast as they please] then is
The Audubon where Birds can fly as
fast as they please?
(9)
[Made note: If I’m full of awe, then am I awe-full?] (Skip.)
(10)
NASA hiring astronaughts & expecting missions to
succeed! Why not rocket the hip-hop musician, Nas, into space? [Made note:
shorten NASA to Nas.] Best idea since Big Ben Gay Talese.
(11)
SUNY-Previn sucks,
the cafeteria smells like wet dogs,
the dorms are gross & the quad is
full of douchebags. Should I transfer
to Rutgers-Hauer? [Made note: RISD-Snider?]
(12)
Retreats used to be full-scale military disgraces. Now you
don’t even leave the office and you order-in Buca di Beppo. [Made note: the dog
expects a second treat nowadays; a re-treat.]
(13)
[Made note: Who log-ins?] Kenny? Kenny log-ins? How many
Kenny log-ins? [What?] Log-ins & Messina? How many Log-ins & Messina?
[Huh?] The Messina comin’? Land O’ Lakes & Honey!
(14)
I need a prescription filled immediately. I need Apothecary Now.
[Made note: Fro-Yo Yo Ma & Pa Kettle.] Then I called A.A. for a tow. “Al-Gore-A-Phobia
Anonymous,” said a man named Stavros. Honest mistake!
Some people read poems about spending a lot of time in
graveyards. They don’t hate these poems. “Ooh!” they say. “I hate spending a lot of time in graveyards!” Not all poems are about loitering in cemeteries,
though. Some lyrics concern a horsey, the current president, or the prevalence
of vulgarity. “Vulgarity-current president,” says one ambitious verse.
“Horsey-vulgarity,” goes another. Yet a third may offer, “Current president-horsey.”
If someone has died, there follows the day after someone has
died. That day is almost always wintry, even if it’s the chalky cloud-swells of
a wintry sky during a season of oppressive heat. Can the sky grow any oilier or
smokier? In the end, there are no achievable geometries. (Can you disprove it?)
Perhaps the word “achievable” should be subtracted. It supposes attainment, as
in scaling a truth, or encountering a love that forever regenerates forgiveness.
Another person has been slain. Most cessation doesn’t murder
but murder almost always results in cessation. Perhaps the holy nature of
stoppages kindles an impulse to envision the kingdom of the dead. Of all the unachievable
geometries—wandering, sound maps, savage proximity, and slackening—only
slackening can result in catastrophe. There follows the day after someone has
died. That day, and every day in succession, is a white stone. Can you disprove
it?
My friend, we’re all
going to spend a lot of time in graveyards. Ever notice how walking is
like the body through the body? Currency jangles in a coin pocket. The afternoon
declares shady intervals until the curvature and curtain of disengagement. Some
people read poems about the moon, its quarter-hopes and half-hopes, its hidden alertness.
They don’t hate these poems. The moon tugs and we may listen in order to
defamiliarize. As with any loss, how crucial the disbelief?
