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About sgcim

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    Supa Groover
  1. Ben Riley has died.

    Very sad news. RIP, Mr. Riley...
  2. The Writer Gene

    They use their own songs because they don't want to pay the fees involved in recording (and even performing) other people's material. I recorded an album with the clarinetist Joe Dixon, and he only used songs I wrote, because he didn't want to pay anybody any fees.
  3. Questions to ask Randy Weston

    Ask him why he hates his Blue Moses album so much. Tell him it's my fave LP of his.
  4. That's my fave Bickert LP. It's a reissue of the Sackville LP with a white cover showing the outlines of Bickert smoking a cigarette.
  5. What's the verse that can happen?

    We learned in graduate school that many of the conventions of the American Popular Song came from operetta, which is what American musical theater evolved from. In many of the above examples, the verse's cadence on the dominant of the key of the main song, and are usually followed by an acapella pickup melody. Our Love is Here To Stay is another commonly sung one: The more I read the papers / The less I comprehend / The world with all its capers etc...
  6. I saw that vinyl at the Jazz Record Center. I wanted to buy it, but it was in the $100 section! We were talking on another forum about the albums made by Joe Diorio and Wally Cyrillo on Spitball Records in 1974. They never made it to CD. It was considered a radical approach to intervallic improvisation on the guitar:
  7. I just returned from the concert at Carnegie Hall of Herrmann's and Korngold's only symphonies, and Botstein and The Orchestra Now did a fantastic job on both pieces. My seat was first row in the center orchestra, right between Botstein and the first violinist, and I could even hear her solo pizzicato accompaniment to a wind soli. This made a huge difference in my appreciation of the music, as I've had mediocre experiences at Carnegie Hall in the past with performances of orchestral works by Hindemith, Walton and Honegger when I've had orchestra seats much further back. Tonight was a much superior listening experience than listening to the Unicorn recording of the Herrmann Symphony. I can't say the same of the Hindemith, Walton and Honegger experiences. I came too late to be seated for the Psycho Suite, so I listened to it through the speakers. Other than the Prelude, there's not much there without the film , so I didn't feel bad about missing it. I was VERY lucky they scheduled it first, or I probably would've gotten in trouble for trying to sneak in during the performance. I used the time to load up on Ricola... They opened up the concert with one of the soloists reading something about BH, but I missed it Herrmann's Symphony was magical, his orchestration technique was as close to perfection as any composer has ever gotten. The difficult high french horn parts were performed flawlessly, and it was like a dream hearing this piece performed live. The strangest part was in the third movement. There is a strange percussive sound that I could never figure out. It turned out to be Herrmann ordering the string players to attack their instruments with some black plastic square-shaped object (their resin cases?). It was startling because BH chose a part of the third movement which was silent until it was interrupted by these dainty Asian cellists savagely striking their cellos, and the audience looked at each other in shock! The structure of the Symphony is more programmatic than formal, and the best way to understand it is as BH's story of WWII, with evil being defeated by good in a long struggle that ends in a joyous final movement. It's a tremendously effective piece that the audience reacted to very strongly. The snotty critics discouraged performance of it, because they claimed it showed BH's 'unfamiliarity with composing in the formal structure of the symphony', but IMHO it has held up very well due to Herrmann's endlessly fascinating harmonic/rhythmic/melodic vocabulary. I've been listening to it for forty years, and never tire of it (other than the meandering third movement, which was more interesting live), as opposed to the music of the 'masters' of formal structure. A good example of this form vs. content argument was the Korngold Symphony in F#. It's a great piece, and shows Korngold's obvious superiority in mastering the formal structure of the symphonic form, but the development sections became too 'show-offish' in their length, and I found them too drawn out. The content and mood of the fabulous first three movements was undermined by a light final movement; otherwise it's another masterwork that should be performed more often.
  8. This was the only record John Collins, Dizzy's buddy and musical advisor during the founding of bebop, ever made as a leader. I don't know if it ever came out on CD.
  9. No one has ever played the guitar like this dude. He used fingerpicks because he said he used to drop the pick all the time when he played drunk. He was member number 11 of The Hell's Angels when he was younger. Look at him. He was one dangerous dude:
  10. This guy was a great player who had a serious stroke at a young age and died soon after. This was his only record as a leader.
  11. That documentary on McFarland, This Is Gary McFarland, is finally available on the Fandor channel, but you have to have a subscription.
  12. Great record. I found it on CD at a used record store for $2. They also had a CD by Calvin Newborn for the same price.When I picked that up, I realized musical talent isn't necessarily genetic...
  13. Everything Sonny.

    They just had a show about this on WNYC:
  14. Great album. They let you listen to the entire record. In Angel's long bio they never mentioned Arthur Lee, Love or Forever Changes. There's a good account of Angel's sessions with Lee for the FC album in the bio of Arthur Lee, Forever Changes. Thanks for the link!