Word: rhythm
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Dates: during 1970-1979
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...whose flute and guitar lines immediately call to mind "Sossity: You're a Woman," the final song of the Benefit sessions. The chorus is also reminiscent of the Sossity refrain and is polyphonically mixed to give a dreamy portrayal of the ladies' allure. The tune closes with an upbeat rhythm phrase bolstered by the orchestra's solid horn section...
...illustrates this thesis by explaining how the soloist expresses how "things should be" in America with his improvisational expression of black joy and freedom, while the rhythm section, with its repetition of one melody over and over again, represents black life as it is--restrained, helpless, and stagnant--"how things really are." What injuries the credibility of The Cry of Jazz is Bland's not-so-logical deduction that because whites haven't suffered they plainly can't understand, and therefore can't create, play or even listen correctly to jazz compositions...
...memoirs, an "oblique autobiography," although at times the mask slips and we find ourselves looking over the narrator's shoulder at his memoirs-in-progress: "I was eighteen when the Bolshevist revolution struck--a strong and anomalous verb, I concede, used here solely for the sake of narrative rhythm." Sometimes, indeed, the effect is rather witty...
When Warners first signed Cooder five years ago, he had worked as a session man around Los Angeles and with the Rolling Stones in England. His dexterous rhythm work on guitar and mandolin had won him a reputation as a good musician who could juice up anyone's record, and he played behind everyone from Captain Beefheart and the Everly Brothers to Paul Anka. His work on the sound track of 1970's Performance, a movie of scattershot brilliance about a gangster and a rock star, further keyed up interest in Cooder's own album debut...
...probably not due to the band's lack of talent. At the least, they handled their instruments adeptly. The arrangements, however, were noticeably inferior to those on Rock and Roll Animal, particularly "White Light/White Heat" and "Rock and Roll." The lead guitarist concentrated mostly on rhythm which left a void in many of the arrangements. Finally, the give and take between Reed and his band during the Academy of Music sessions was more pronounced--the band was given a share of the limelight during the instrumental breaks but quickly crept into the background the moment Reed's vocals would...