I should luce to share with you a personal testament, a personal review of the varied demonstrations of a musical giant, a gentle genius, a great example of what is right about Jamaica. My comments proceed from listening, observation and appreciation, and are personal, and relate to my musical education, my own musical development. In 1972 at a conference at Indiana University on the The Social Role of Jazz,Richard Abrams, a presenter, spoke of a jazz musician describing his playing of Jazz as and soul trying to get together.2 He was just trying. Ernest Ranglin hs brought body and soul together; body expressing the dictates of soul through spontaneous composition - improvisation, to which he adds the colour and tone of spirit, mind and heart. It is this total involvement of Self with a capital S that makes him endure through so many years and continues to make his offerings young and fresh, yet bringing to his performances the advantage of vast experience and exposure. Ranglin is a self-taught musician, who studied, on his own the accepted musical primers, honed and pruned and shaped his style, listened to the accepted masters and outclassed many, and continues to learn, to absorb influences, and transform them, making them uniquely his own. So many of our young musicians today are reluctant to learn the elements of the musics of the region, preferring to play a Berkeley method in an often mediocre. fashion; not recognizing that this is a means to an end, not an end in itself Ernest Ranglin has allowed himself to grow, and in growing has found his own voice. He developed as a musician when the leisure market was expanding, when what we refer to as jazz was popular dance music. In the Caribbean the slow, sensuous sounds of the blues, the inflections of swing were being played often from commercially acquired charts or from careful reproductions of what was heard on record, but very often took on the flavour unconsciously of the pervasive 3.3.2 patterns of early calypso/mento/goombay/merengue/rumba - the characteristic rhythms of the region, and this rhythmic feel contributed to the acceptance, the growth and spread of Jazz. Our bands were facsimiles of fairly large U.S. aggregations, playing ensemble music. These groups were training grounds for the host of horn-players and other instrumentalists who started the trek to add a certain kind of excitement to the European musical scene, making contributions that were well before their time. American musicians had introduced into the mix the concept of the solo, and the soloist and improvisation took on new significance and importance, for Jamaican groups as well. Before this period improvisation had meant colouration, decoration and attention to texture, sticking very close to the original melody. What characterizes improvisation today is - streams of spontaneous melody. It then becomes clear that the beat is being irregularly subdivided and moves across bars with impunity. Thus, lines are created that are unequal in length, with emphases and accents occuring in unexpected and unpredictable spaces. Herein lies the creativity, the excitement It is easy to create phrases that are metrically straight and to continue the compositional process by creating answering phrases of the same length. It is not so easy to create a sound tapestry that depends on variation of (to use cricket terminology) 'length and line', sometimes dropping it in the 'block hole', providing at times something that 'rises sharply', or a deceptive delivery that has you 'clean bowled' and looking behind at your middle stump. Anyone who has listened carefully to a Ranglin recording, or better yet, observed him in full flight will know exactly what I mean. That describes his cascades of notes, judiciously chosen. Yet he sometimes subscribes to the tenet that 'less is more' and we can be treated to a contrasting spare reading of a melodic line, notes even more judiciously chosen. …
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