Such a brilliant analysis! I love al o fit, but especially this part dealing with Chuck Brown (I'll look for his version): "But here’s the thing: It has some 1935 in it, but it’s not some quaint respectful revival. It celebrates the McHugh melody and some of that King Pleasure wryness and a touch of Wes Montgomery and a dash of that royal Aretha Franklin poise. It’s aware of the long chain of interpretations and interpolations, but it’s fully alive. And when you get swept into that go-go groove, you realize it’s not any one thing. It’s not just that melody, or the indelible Moody solo, or the way Brown keeps kicking things higher."
Such a brilliant analysis! I love al o fit, but especially this part dealing with Chuck Brown (I'll look for his version): "But here’s the thing: It has some 1935 in it, but it’s not some quaint respectful revival. It celebrates the McHugh melody and some of that King Pleasure wryness and a touch of Wes Montgomery and a dash of that royal Aretha Franklin poise. It’s aware of the long chain of interpretations and interpolations, but it’s fully alive. And when you get swept into that go-go groove, you realize it’s not any one thing. It’s not just that melody, or the indelible Moody solo, or the way Brown keeps kicking things higher."