01 June 2010

Letter to the Editor

In response to my last post's "Expansion Module jam" comment, re: 11/27/09 "Seven Below > Ghost", "Jake" writes:

Q: "I'm curious as to the etymology of your term "Expansion Module jam" for the 11/28/09 Seven Below > Ghost. Is it because the jam, and this style in general of jamming, finds what seems to be an independent harmonic, melodic, and affective segment, plays around with it, and then moves to another one of these segments with basically block juxtaposition? I'm guessing that's what you mean with the term "module," since it's a more modular style rather than a smooth progression towards an end goal (like Hood or Slave), or the very crazy, abrupt juxtapositions of old-school '92-'93 era jams (like the 8/28/93 Antelope). I'd suggest that the SPAC 6/19/04 Piper is a great example of this "modular" style jamming. 5 distinct jam segments, including a heavy Tweeprise jam..."

A: Yes, exactly. Well put. Students, you can learn well from Jake's class participation. High-fives, "Jake" -- nice work! Here's my very own (holy-crap lucky) capture of the aforesaid specimen, which was difficult to film whilst holding the top of my head on from exploding, due to the rapid change in, err, "atmospheric pressure"...

(PS: M'boy, 8/28/93 "Antelope" -- and, heck, the legendary 8/28/93 in toto -- is worthy of a whole post unto itself, and I'm glad you brought it up. A tale for another time, but an excellent reference and reminder! Extra credit!)

Part II (the so-called meat, or tofu, or TVP, if you prefer) of my 2009 "Best-of" series is forthcoming. There's a lot to write about and compile. It's coming together, I'm about 3/4 done; please be patient. The management apologizes for any inconvenience... ;-)


Post a Comment