John Zorn, “Sacred Oracle,” The Mysteries, 2013.
Ike Quebec, “The Man I Love,” Heavy Soul, 1962.
Masada, “Tahah,” Alef, 1994.
The rhythm unit gives emotional and artistic coherence to the very shape of the tempo and the pulsation — the statement and the interpretation of the meter itself, the underlying, syncopated divisions of motion through musical space — the time.
— Stanley Crouch, Considering Genius, p 106.
To write at all is to dwell in the illusion of language, the rapture of communication that comes as we surrender our troubled individual isolated experiences to the communal consciousness.
— Robert Duncan, The H.D. Book
Music is of G-d…, and music is with G-d, and music is how G-d expresses Him- or Herself, and music is everywhere, and music is a crafty art and is completed in places inside us, in the impossible-to-locate precincts wherein there is access to feelings that we might otherwise ignore.
— Rick Moody, “On Celestial Music“
Talking Heads, “Once in a Lifetime,” Remain in Light, 1980 (Chris Frantz: drums, percussion).
Drumming, at its best, poses a challenge to its collaborators in not only its tempos and time signatures but also in its spirit, its capacity to overwhelm or defer dynamics. All good drumming shares the common element of shepherding its ensembles.
Willie Nelson, “My Own Peculiar Way,” Teatro, 1998 (Victor Indrizzo and Tony Mangurian: drums, percussion).
The Wild Tchoupitoulas, “Hey Hey (Indians Comin’),” The Wild Tchoupitoulas, 1976 (Zigaboo Modeliste: drums).