"Un Poco Loco" is in thirty-two bar form.[4] It uses the lydian scale, incorporating chords overlapping chords to imply a polytonality (D major 7 over C major 7: CEGBDF#AC#) with the improvisation based on an alternating polytonality and an altered dominant chord. Particularly remarkable to jazz musicians is the placement of C# against a C major 7 chord; James Weidman attributed this to bitonality, while Tardo Hammer attributed it to an extension of the circle of fifths.[5]
Legacy
In the late 1980s, literary and cultural critic Harold Bloom included "Un Poco Loco" in his list of the most "sublime" works of twentieth-century American art (from his introduction to Modern Critical Interpretations: Thomas Pynchon's Gravity's Rainbow).[6]
References
^Yanow, Scott (2000). Afro-Cuban Jazz. San Francisco, C.A.: Miller Freeman Books. p. 188. ISBN 978-0-87930-619-9. Retrieved 13 April 2019.
^Priestley, Brian (1991). Jazz On Record: A History. New York: Billboard Books. p. 99. ISBN 978-0-8230-7562-1. Retrieved 13 April 2019.
^ abMcCalla, James (1994). Jazz, A Listener's Guide. Englewood Cliffs, N.J.: Prentice Hall. pp. 116, 123, 125, 194. ISBN 978-0-13-097940-7. Retrieved 13 April 2019.
^DeMotta, David J. (2015) The contributions of Earl "Bud" Powell to the modern jazz style. Doctoral dissertation, The City University of New York.
^Kastin, David (2011). Nica's Dream (1st ed.). W. W. Norton. pp. 172, 173. ISBN 978-0-393-06940-2. Retrieved 13 April 2019.
Years given are for the recording(s), not first release. Because Powell's discography features albums with the same title, record labels are identified to avoid any confusion.
