My tribute was just a revenge fantasy never enacted but, yeh, very much in the
vein you mention. Something like
"Come gather round beep-bop-be-diddly-wah-wah people/Whenever you
ro-ho-ho-ho-ho-oam/And for-dibbly-dibbly-get that the wa-wah-wah-wah-ters
aroun-houn-hound you have gro-dip-be-dip-de-doo-be-dip-owm"
Even Shatner would swerve that one.
D
From: david ritchie <profdritchie@xxxxxxxxx>
To: lit-ideas@xxxxxxxxxxxxx
Sent: Friday, 9 September 2016, 21:15
Subject: [lit-ideas] Re: Grice: The Unwritten Doctrines
On Sep 9, 2016, at 11:38 AM, Donal McEvoy (Redacted sender "donalmcevoyuk" for
DMARC) <dmarc-noreply@xxxxxxxxxxxxx> wrote:
Thanks for this reference, David. Only on reading did I realise that animal
scat isn't a jazz-based form of vocal improvisation.*
D*This is serious enough: as I clicked on the link my mind was in quasi-reverie
as to what would have happened if I had followed someone, who did some
jazz-based scatting at a college revue in the 1980s, with my own off-the-cuff
tribute to the form. Told you I'm losing it.
One of the least pleasant undergraduate memories I have is of a party when I
went to visit my friend in Jesus—everyone should have one of these—where I
endured what seemed like hours of Cleo Laine (Clementine Dinah Bullock, who
believed she was a dirty, filthy, awful Campbell, like her father, until her
mother told her what she’d written on the birth certificate) hibble-dibbling,
burble-bibbling, blather spattering. Call me a peasant—and people do when I
reveal how much I dislike the second half of jazz history-- but the memory
still raises my blood pressure. I hope your tribute to the form, though in
vain, (because people really like this stuff) was intended in this vein.
David Ritchie,musical troglodyte
