Cunning plan is this, chaps and chapesses … just as I generally try to keep DAD drops and Steve drops separated by at least one other item, so today I am trying to keep Toodles separated from Julia James Davis … yet there’s still a fundamental interconnectedness of all things.

The only way I can see of moving fwd today is to put the jazz in now … and as I have all the tracks ready, let’s go.

There’s a fundamental point of division between those who feel only one form of music is valid, is “high art” … and those such as me who half agree but also point out that some genres certainly do have their own classics and those classic songs MUST be played and sung in a certain way, otherwise they lose authenticity … and oomph.

The song Louie Louie is street music … it MUST be played in a public setting, as with the two Tuba Skinnies further down.

Artur Schnabel wrote, in the C19th: “Too easy for children and too difficult for artists,” of Mozart’s sonatas … it’s all in the tonal qualities. There follow now two renditions of Louie Louie and I prefer the street version of the Naked Gun clip, perfectly played though the studio version is … the song needs, imho, to be brash, brassy, loud … that’s why it’s a marching band staple in America, esp. for youth bands.

To maintain the mood, it needs an in-yer-face band and who else but barefooted Tuba Skinny? I do have a slow, raunchy blues number by them which I’ll hold over for next time … let’s go back to this one, which almost demands that girl’s body blocking the band … the song and her are both required for the effect.

The third song is again a re-run, with elements of the manic … dancers feeding off the band … band feeding off the dancers … watch the trombonist’s expression.

“Horse’s for courses” is a recurring theme today, esp. in the Julia JD post coming up after the jazz.