Word: rhythm
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...Crosby before him, had been a master of words. Ray Charles is a master of sounds. His records disclose an extraordinary assortment of slurs, glides, turns, shrieks, wails, breaks, shouts, screams and hollers, all wonderfully controlled, disciplined by inspired musicianship, and harnessed to ingenious subtleties of harmony, dynamics and rhythm... It is either the singing of a man whose vocabulary is inadequate to express what is in his heart and mind or of one whose feelings are too intense for satisfactory verbal or conventionally melodic articulation. He can?t tell it to you. He can?t even sing...
...Levy team has set the tempo of the coverage, a rhythm as regular as Susan and Robert Levy's appearances before the waiting cameras at the end of their driveway. After Condit denied the affair in two interviews with police, Levy's aunt and confidant, Linda Zamsky, provided details of their liaison to the Washington Post--details so embarrassing that they rang true. "It accomplished what we wanted," says one of the Levys' allies. That night Condit volunteered to do a third interview--the one in which he finally admitted the affair. The Levys then ramped up their demands, asking...
...another coincidence, all this took place just as two forms of ethnic music, rhythm 'n blues and country, were mating and giving birth to rock 'n roll. Local stations could now lure listeners on the cheap. And at 11 or 12 years old, I was one of them. I bonded with this wonderful new music coming out of their boxes, and with the local disc jockeys. I never met these guys, but they were my older brothers, my pop mentors, the men whose high energy and rhyming jive provided a verbal equivalent to early rock 'n roll...
...soon was running The Committee, a panel of teens that chose records and monitored the troops. At 20 he got on radio and quickly established himself as a pioneer rock archivist, running perhaps the first-ever oldies show. And not something simple, like pre-Army Elvis. Wildly obscure stuff, rhythm 'n blues and doo-wop, mostly, all to the ersatz-black syncopation only a Jewish kid could bring...
...were trying to find new ways of playing. Coleman got his followers interested in African music, in unusual harmonies and novel forms of organization. "From Steve Coleman," Wilson says, "I learned to tear a piece of music apart and get away from standard approaches. I learned about cycles of rhythm, being able to hear cues in the rhythms instead of chords. And I learned to hear the layering of rhythms. Before that, I had been only studying chords and standard A-A-B-A structured songs. But after Steve, I was able to return to standard material whenever I wanted...