sgcim

I was wondering why WKCR was playing such great music that day. I got out of the car before they said anything. As usual, they were playing entire albums on the turntable before they'd say anything.

Probably would have been a big hit if people just bothered to take the time to learn Esperanto. I mean, how hard can it be? Maybe that was what the label was named after.

Had no idea Corman had that in him, too! After he looked at the balance sheet, he said, "Back to exploitation movies". according to Anthony M. Taylor on one of the DVD commentary tracks, the screenplay was written in English and translated to Esperanto. When the sole surviving French print of the film was remastered for release, English language subtitles were created based on the original English language screenplay, not from a translation of the spoken Esperanto dialogue back into English. This results in as strange situation for a foreign language film: discrepancies between the English language subtitles and the spoken dialogue are actually due to mistranslations from English to Esperanto, not vice versa, or else reflect late changes which were not back-ported to the original English language screenplay. Is that what you meant? Helpful•23 1

What about his great performance in "The Intruder"(1962), the only serious (non-exploitation) movie that Roger Corman ever made: https://www.imdb.com/title/tt0055019/?ref_=nm_flmg_t_215_act And then there was this one, just before he got the call for Star Trek. It was the only film ever made in Esperanto! https://www.imdb.com/title/tt0059311/?ref_=hm_rvi_tt_i_2

According to "Mr. PC" the only fault that Chambers had was bad intonation on some things.

I I couldn't believe that guy said that a cello is tuned in 4ths and a bass is tuned in 5ths. Tell him to go back to music 101- it's the other way around.

I take supplements, and have eaten two eggs every day for the last 12 years since mt mother passed.

As far as music goes, I only post this every time this topic comes up:

I'm getting up to the end where he was doing a gig, and in the middle of a tune, let out a horrendous scream then threw his bass down and ran out the front door of the club. The leader of the band asked his chick Micky, what was that all about? She said Paul had a 'veil'. He asked her what a veil was, and she said, "Paul was clairvoyant". He asked her what that had to do with it, and she said, "Paul had seen his mother walk into the club". He said, "So what?" She said, "Paul's mother has been dead for several years."

The great thing about the book is that Chambers played with literally every artist who came to NYC during the time period you mentioned, from Tina Brooks to Wilbur Hardin, to Dave Burns to Billy Mitchell, etc...and the author gives some background on each one, and tells how they played on each cut of the albums they played on. His agreement with Miles was that he could record and gig with anyone that called him if Miles didn't have a gig with him, so he was doing one night in Chicago, followed by one night in NY followed by another night in Chicago! He told people that he wasn't going to live to be 30.

Add National Health to that list. Wherever his brother Pye went, he would be involved. Here's my favorite flute solo of his with NH RIP, Jimmy

Not on my skin.

There are some stories in the Paul Chambers book about how the musicians loved the freedom that Alfred Lion and Francis Wolff gave them and even named some tunes they wrote with the name 'Lion' in the titles. Chambers was the only musician who cared enough about the sound that he got out of his bass in Rudy van Gelder's studio, that he'd spend hours of his precious time going there on Saturday and Sunday mornings working with Rudy about how they could get the best possible sound out of his bass on the Blue Note recordings that took place there, without asking for any pay. Another story about PC that showed what a great person he was, besides being a great musician, was when the Miles Davis band used Sonny Stitt to replace Coltrane on a tour in Europe. They were sharing a bus with Jazz Five, a British jazz group that had the great bass player Malcolm Cecil in it. PC walked into the bus and immediately took the seat next to Cecil and after complimenting him about how great he sounded in the concert the night before, got into a deep conversation with him about topics concerning bass playing. Stitt came aboard the bus, and almost banged his sax case on the head of one of the Jazz Five, and didn't even apologize, and then stared at Chambers and Cecil having such an intense conversation together, getting more and more upset. In Cecil's words: 'Stitt glared at me, leant down and said said ito Paul's earin a stage whisper, "What the fuck do you think you're doing sitting next to that motherfuckin' honky? Paul looked him straight in the eyes and said calmly and quietly, "Mind your own motherfuckin' business asshole, I'll sit wherever I goddamn want. This guy's my buddy" Then he turned to me and winked and said, "Don't pay him no never mind" and picked up our conversation just where we left off as if nothing happened. Stitt's face was thunderous and he stomped off all the way to the back seat and never said another word to anyone during that journey'. Chambers and Cecil became firm friends, and PC was responsible for encouraging Cecil to work on his bowing technique, leading Cecil to become the the principal bassist with the BBC Radio Orchestra, and later perform bass and cello conciertos as a solo bass virtuoso. He never would have gone down that path without Paul's influence and encouragement.

But I only go out at night since the pandemic.

I remember the story about Pres being asked what he thought of some musician playing some fast, technical solo, and then asking the player, ""Yes Lady, but can you sing me a song?" I always liked that one.

I'm glad someone's saying it. Thanks for posting it!

Oh, I see; I must have wandered into some type of Bizzaro World Organissimo,

I'm reading "Mr.PC: The Life and Music of Paul Chambers", and I can remember arguing with some posters here that Bill Evans was an important part of "Kind of Blue"and various posters saying he had barely anything to do with the album. I reach the section of the Kind of Blue sessions and I read a passage saying that Miles Davis "planned the music around the piano playing of Bill Evans", taken from the book by A.Kahn, "The Making of Miles Davis' Masterpiece" London Granta Books. I mention that fact to a friend of mine today, including the discussion here on Bill Evans' role in KOB, and he just mumbles, "sounds like a bunch of racists" in regards to the discussion here...

Since your screen name is Face of the Bass, I've been reading "Mr.PC": The Life and Music of Paul Chambers" by Rob Palmer. It deals heavily with every note that PC played for Blue Note. I'm not kidding, this guy analyzes every aspect of the Blue Note albums PC played on, even his walking bass lines! In 1958, PC played on 53 now classic jazz albums, and in addition was working what must have been over 300 gigs in clubs, concerts working with Miles, Coltrane, Hal McKusick, Chet Baker, Wynton Kelley, Red Garland, Philly Joe Jones, Jimmy Cobb, Cannonball, Phineas Newborn, Wilbur Hardin, Bill Evans, Bobby Jaspar, Eddie Costa, Kenny Burrell, etc...he was even doing a gig on Christmas Eve. And he was only 22 years old!

Happy 99th, Roy!

A heart attack at 58.

Sorry to hear this, RIP..

Whoops! Thanks!

Enter his name on you tube.