~ JIMMY NOLEN «guitare ou're looking at the most celebrated D9th arpeggio in the history of popular music. In each of the arrangements in James Brown's three-song, blues trilogy, the band gave a different look to each of the instrumental hooks that hap- pened in the eleventh and twelfth bars. In “Out of Sight,” it was ‘quarter-note triplet chords; in “Papa's Got A Brand New Bag,” Jimmy Nolen stole the show with his sixteenth-note, E9th strumming pattern. In the final chapter, “I Got You" takes a ‘much more linear direction. The last two bars of this tune fea- ture the entire band absolutely crushing five notes in unison (D,""F7 "A" °C," and “E”). Unlike the previous two blues jams, the band doesn’t return to the V chord in the twelfth bar. ‘They remain on the I chord harmony and leave everyone hang- ing on the last note of their D9th arpeggio. o Jimmy may have been just a face in the crowd in bars eleven and twelve, but in the first eight measures of “I Got Yo dent and critical decision on his part played a huge role in the ‘band's overall groove. Jimmy avoided a standard “two” and “four” backbeat pattern so as not to interfere with the horn lin. ‘By just playing an accented chord on the second beat of every other measure, he allows the horn figure to have its space, Once the horn players have had their say, he puts in his rhyth- ‘mic two cents, solidifies the rhythm section, and waits for the ‘next repeat of the phrase. This goes much deeper than the old “less is more” axiom. If Jimmy had played a typical “two” and “four” backbeat pattern, the song would have been subtitled “I Feel Bad." ¢ VERSE (¢ = 148) o7 A 1Got You (I Fee! Good) 35