There are these rare moments when musicians together touch something sweeter than they've ever found before in rehearsals or performance, beyond the merely collaborative or technically proficient, when their expression becomes as easy and graceful as friendship or love. This is when they give us a glimpse of what we might be, of our best selves, and of an impossible world in which you give everything you have to others, but lose nothing of yourself. Out in the real world there exist detailed plans, visionary projects for peaceable realms, all conflicts resolved, happiness for everyone, for ever – mirages for which people are prepared to die and kill. Christ's kingdom on earth, the workers' paradise, the ideal Islamic state. But only in music, and only on rare occasions, does the curtain actually lift on this dream of community, and it is tantalizingly conjured, before fading away with the last notes - Ian McEwan, from his novel Saturday
Well done, Colm! I really like your singing, as per usual, and your playing has a lot of drive. I like the little syncopated rhythmic hitch you put in the signature lick, too. It's great to hear you venturing into non-John Hurt material. Thanks for putting the video up. All best, Johnm
Well, if "mamlish" actually does mean something, I don't know what it is, but if you look at the contexts in which it was used, it appears to function as a non-specific intensifier, as in Bobby Grant's "Nappy Head Blues"
"Head so nappy, feet so mamlish long, looked like a turkey comin' through the mamlish corn"
Substitute "very", "doggone" or f***in'" and you'd have approximately the same meaning.
At one point, I thought "mamlish" might be the feminine equivalent of "mannish", but that idea doesn't hold up under examination of the different contexts in which the word was used.
All best, Johnm
« Last Edit: April 08, 2015, 01:54:03 PM by Johnm »