iamdave

So when she came along with the sunbeam Self-esteem stopped making nothing outta somethings Leaving the scene was unseen, I mean It was the first time he ever felt the need to keep the gun clean

Onlookers and movie-goers flummoxed.

The Greatest Thirty-Five Seconds in Jazz

Submitted for your approval, Dave Brubeck’s Take Five. A a track that was first performed in 1964 but so intimately ahead of the game musically, I will defend the opinion that it deserves to be unquestionably considered

post-modern jazz.

Just listen to the first thirty-five seconds; an uncharacteristically subdued, yet dutiful 5/4 introduction from the percussionist, soon--but without any unnecessary delay, an ostinato from the piano that demands your focus, politely but quite affirmatively setting a mood-as it were. Mere moments later yet equally on pace, a saxophone carrying the main melody enters the soundscape--a sultry musical question mark, a suggestive inquiry to the listener about their own musically intimate desires, a playful jaunt into the inquisition before a refrain to the coy and almost coquettish melody we heard just a few bars ago.

There’s just something inherently...erotic about the first thirty-five seconds Take Five.  It exudes suave and swagger delivered via auditory aphrodisia;  it’s playful and demure, but wholly composed and assertive--yet inviting.

Ugh.

SUCK IT HOUSTON!