musicology #359

AlternativeSoundtrack4 #26

(Irma Thomas - It's Too Soon To Know)

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Final slice of the Alternative Hustler Soundtrack and it's come down to the faceoff between Eddie and Bert. Yesterday's slice heard Fats declare that Eddie was the new king of pool and Bert showed his true colours. Not that he has done much to conceal them but he hints that maybe it was his boys that broke Eddie's thumbs and if he, (Bert), commands it his heavies will do more than that this time. But our man has learnt some character and is prepared to make whatever sacrifice is necessary to ensure that Sarah's brings about a Victory over Bert, (who in my opinion represents the establishment).

Bert on the other hand is only really interested in ownership and money, he has said it throughout the film but what he hasn't said is how much he envies those capable of showing true feelings and who are not chained by the evils of power and money. Classic Capitalist mentality trying to show that it's wealth, greed and power that makes the world go round and not happiness, love and integrity, (character). I make no bones about it money and power don't motivate themusicologist and never will. I have bills to pay and, more importantly, mouths to feed and there are some who may, (and do), call that irresponsible and obviously they are entitled to their opinion but integrity/character don't come cheap and as with most things there is always a price to pay, (for everyone concerned). Fantastic interchange of dialogue and ideology between the antagonist, (Bert), and protaganist, (Eddie), in this scene that deserves mention. How none of the main actors received oscars for their performances is beyond reason and therefore must have been in some sense political.

The director Robert Rosen had integrity/character but ultimately it was shipwrecked on the rocks of so called 'Democracy' and he lost it. Which is not a judgement or criticism, (of Robert Rosen), more of an observation. For more insight into the facts of life it's worth taking another listen to a slice featured earlier on this theme; Memphis Slim's 'Mother Earth' (musicology #352)

Tough call the final cut..couple of options but going with my gut feeling it has to be this one from Irma Thomas with a slice of pure unaldultarated heart wrenching Soul, (with a capital S), A cover of the song made popular first by the Orioles and then by the irrepressible Dinah Washington a singer who set the standards for every female singer that followed. Rare to find a Dinah song covered that even comes close to her version but for themusicologist this one does. Also as far as I'm concerned it's fitting that the final call belongs to a female in tribute to the character played by Piper Laurie and the answer, (posthumously), is a resounding Yes. Recorded and released in 1961 for and on the Minit label. Produced, (I imagine), by Allen Toussaint.

musicology #358

AlternativeSoundtrack4 #25

(John Coltrane - India)

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Penultimate slice of the Hustler ‘alternative’ finds our man having finally reached the peak of his game. No alcohol or bravado..just one man and his craft. Have to give George C Scott a special mention for his contribution on this scene..full of menace and vitriol as he tries one more time to ‘boss’ the kid...

The cut is a second one from mind blowing virtuoso John Coltrane whose command of the language is out of this world. Again let me state that I’m not a big fan of the genre but more than once when the ‘Trane has spoke themusicologist listens. For me it’s like he’s reaching beyond the boundries of tonality to deliver authentic spirit and even though I’m trying, words can’t do the Cat justice.

Recorded for Impulse in 1961 at New York’s Village Vanguard..another live performance that I would ‘give me right arm’ to have been present at and ably supported by Eric Dolphy, Roy Haynes, Reggie Workman and Ahmed Abdul-Malik. What has it got to do with The Hustler and themusicologist? in a word..synchronicity.

musicology #357

AlternativeSoundtrack4 #24

(The Twistin’ Kings - Congo Twist Pt1)

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Martin Luther King was quoted to have said

“No Victory without Sacrifice”

Well Sarah has made the Ultimate sacrifice and took her life..I think it was the philosopher Schopenhauer who said/wrote that suicide was a cowardly act and not one of bravery and much as I check for some of his philosophy as far as this act was concerned he was wrong. Sarah took her life for more reasons than one…Eddie. She sacrificed her body to Bert and in the process her heart to Eddie. Some might call that selfish but again they would be wrong. If you know the film, (and if not I hope the dialogue has provided some insight), you may agree that Eddie’s salvation was uppermost in Sarah’s heart and mind. ‘Fast’ Eddie Felson wasn’t cut out for the world in which he found himself…he thought he was but in reality he wasn’t. As Bert said “You’ve got to be hard Eddie” where what we meant to say is “You’ve got to be heartless Eddie” and he is right. There’s no room for ‘weakhearts’ in an environment like that you’ve got to be a killer and grind your opponent into the dust and when they plead for mercy you have to twist the knife harder and further and take no prisoners…and as far as I have read it, Eddie isn’t that kind of person. He just loves to play Pool. A few scenes ago when Eddie asked Sarah whether she thought he was a loser, (as Bert never stopped telling him), Sarah answered that he was a Winner because of the love and passion and childlike joy he got out of playing Pool at the top of his game. He retained the child and that is what made him a winner. Bert on the other hand for all his money and material possesions was twisted, crippled and alone and Sarah knew that. She is the film’s hero not Eddie and in this scene we hear him clarify that. All too late. Remember “No Victory without Sacrifice . If you want something chances are you have to make sacrifices…and very few of us are genuinely willing/able to do that….anyway enough of the philosophy and back to the action.

Eddie’s back at Ames Pool room, the place where it all began to unravel and he’s looking to take Fats on again. But this time he has a lot more to say…

Today’s music is an early Motown, (1961?) instrumental cut by a collective known here as ‘The Twistin Kings’. Who were they? I can only hazard a guess that it’s the same band who backed almost all the Motown artists from 1959 right through. None other than what became known, (after The Soul Brothers), as The Funk Brothers. Far too many Cats were a part of this collective to namecheck here but if they are listening they know who they are so I won’t even begin to list them

musicology #338

AlternativeSoundtrack #5

(Barrett Strong - Money)

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Not sure how fresh in your memory the film is? but this next scene is the one where Eddie, who has been drinking JTS Brown, (Bourbon), straight out of the bottle for hours is beginning to look tired as the alcohol takes it’s toll. Minnesotta Fats on the other hand steps into the washroom, combs his hair, washes his hands, puts on his suit jacket and looking as fresh as a daisy, (he’s been drinking Whiskey too), delivers a killer line of dialogue and proceeds to ‘wet’ the kid up.

“Fast Eddie……”

The accompanying slice of musicology is a famous 1960 cut on the Tamla, (Motown), label from Barrett Strong the rip roaring cut that catapulted Motown into the spotlight, (where it stayed for more than 20 years). Strong went on to become one of Motown, (and Soul’s), premier songwriters who, in collaboration with partner Norman Whitfield, wrote many a classic for Cats such as Marvin Gaye ‘I Heard It Through The Grapevine’, Edwin Starr ‘War’ and The Temptations ‘Papa Was A Rollin’ Stone’.

musicology #336

AlternativeSoundtrack4 #3

(The Triumphs - Burnt Biscuits)

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It's time to introduce the 'Fat Man' aka Minnesota Fats depicted in swaggering, nonchelant and fine style by Jackie Gleason.

Eddie has been 'shooting stick' in anticipation of Minnesota's Arrival at 8 bells...Fat's arrives and watches Eddie shoot, comments and 'the game' begins..

Just thought I would mention that Jackie Gleason shot pool regularly while growing up in New York and didnt need a stand-in so all his shots are his own...

The music is again from 1961, (trying as hard as I can to keep it tight), a Memphis Rhythm and Blues instrumental cut on the newly formed Volt label, a (subsidary of Stax), from a band called The Triumphs featuring Howard Grimes on drums, Marvell Thomas, (Rufus Thomas's son), on the organ and piano, Lewis Steinberg on bass and the songs writer, original Stax engineer Chips Moman on guitar.