To be clear though I'm not trying to deny the influence. I'm just saying that as an example it's less about the form, and as such isn't a leaping point to the broader point of the jazz links to the funk, even though I think those are really strong. I just think this is a week example.
Further this whole line of discussion stemmed from JCM (or the Music Snobs if its an accurate paraphrasing) that they had similar *grooves*. You really have to force that point because it's really just the end riff.
>Of course the rhythmic aspect is transmuted... that's what >makes it more danceable.
Your forcing that on there. It's more danceable because james and co made dance music. This
>James Brown in particular really >pioneered the notion of emphasizing the first beat, to the >point where almost everything else is dropped.
... is what's driving the groove of the song, not anything brought over from So What. The thing brought over from So What is just the riff. > >So instead of > >DA-da-da-da DA-da-da-DA --- (SO WHAT?) >DA-da-da-da DA-da-da--- (SO WHAT?) > >you get > >DA---SO WHAT! >da-DA---SO WHAT!
All those Da's aren't related. You can force it but it's really not necessary to make a point that doesn't need to be made with this song. There's a ton of other stuff to work on like the Nile stuff JCM is mentioning above.
>I mean, whether or not you think they sound alike, Pee Wee >says that was his inspiration. I don't think he's lying; I >don't see what points he gains by engaging in that kind of >revisionism in this instance.
Again I'm not trying to deny any of that just, not trying to have it go further than it has to.