DiscussWorldIssues - Socio-Economic Religion and Political Uncensored Debate - View Single Post

**fount_pirat** · 03-24-2006, 08:00 AM

Hey c'mon Greg, I'm trying to stir up a little controversy here. This thread's as dead as deconstructionism in the UBC English dept.

Seriously, the hockey-jazz model is absurd. Hockey does NOT swing. Jazz does (although I know plenty of avante guardists would argue the point). Jazz scholarship is commonly in agreement these days that the elusive 'rhythmic lilt', Jelly Roll's 'Spanish tinge,' the thing that it ' don't mean a thing' if you ain't got,i.e. swing, is a product of Afro-Cuban rhythms that arrived in New Orleans at the very end of the 19th century.

In Cuba it'self, it was the 'Negritos' who were responsible for transforming plain old subdivided rhythms like the Cinquillo and Tressillo into hip and swinging additive Clave forms. Similarly, once the color line was broken in sports, African Americans transformed the game of basketball from a square-john white-guy college game into the hip and swinging "Sweet Georgia Brown" game practised by the Harlem Globetrotters. The Globetrotters, and basketball itself, were at the center of jazz culture in the crucial years of the mid twentieth century.

I have no idea what music was associated with hockey in the 1950s, but I'll bet you dollars to donuts it wasn't jazz. Currently, as Guy points out, we have the swinging sounds of Stompin Tom Conners and Tom Cochrane, two guys who couldn't swing if you hung them from a saloon door.

03-24-2006, 08:00 AM	#19
fount_pirat Join Date Oct 2005 Posts 618 Senior Member	Hey c'mon Greg, I'm trying to stir up a little controversy here. This thread's as dead as deconstructionism in the UBC English dept. Seriously, the hockey-jazz model is absurd. Hockey does NOT swing. Jazz does (although I know plenty of avante guardists would argue the point). Jazz scholarship is commonly in agreement these days that the elusive 'rhythmic lilt', Jelly Roll's 'Spanish tinge,' the thing that it ' don't mean a thing' if you ain't got,i.e. swing, is a product of Afro-Cuban rhythms that arrived in New Orleans at the very end of the 19th century. In Cuba it'self, it was the 'Negritos' who were responsible for transforming plain old subdivided rhythms like the Cinquillo and Tressillo into hip and swinging additive Clave forms. Similarly, once the color line was broken in sports, African Americans transformed the game of basketball from a square-john white-guy college game into the hip and swinging "Sweet Georgia Brown" game practised by the Harlem Globetrotters. The Globetrotters, and basketball itself, were at the center of jazz culture in the crucial years of the mid twentieth century. I have no idea what music was associated with hockey in the 1950s, but I'll bet you dollars to donuts it wasn't jazz. Currently, as Guy points out, we have the swinging sounds of Stompin Tom Conners and Tom Cochrane, two guys who couldn't swing if you hung them from a saloon door.
	Quote