Jump to content

slide_advantage_redoux

Members
  • Posts

    1,674
  • Joined

  • Last visited

  • Donations

    0.00 USD 

Everything posted by slide_advantage_redoux

  1. Although his wide spread fame was made as a comic, he started out as a big band sax player.....Sid Caeser. Also, this may have suggested already. There is a good book on Klesmer music, and it touches on the evolution of Jewish musicians in America. It doesn't neccessarily address jazz specifically, but it is a good book worth having on the reference shelf. The author is Henry Sapoznik, and the book is entitled "Klezmer (Jewish music from old world to our world)" good luck
  2. Is anyone here familiar with these speakers? I know opinions vary widely on Bose. I found a pair of 601 series 111 speakers in a pawn shop for $50. The cones and horns are in good shape, although the speaker grills need some attention. At that price, I figured it was worth the risk. They have to be better than the old Fischers I have been using. I was wrong...these are the first generation of the 601 line of speakers.
  3. I was just re-reading the Cadence interview with him awhile back. I worked on the SS Norway in '88 for 6 months, and was fortunate to be on board during the 2 weeks of "Jazz at Sea". Wow! He was there, along with many others, including Tommy Flanagan, Buck Clayton, Erskine Hawkins, Clark Terry, Flip Phillips, Al Grey, Major Holley, et al. One night in one of the smaller piano lounges, he and Joe Williams were hanging out and performing duo. Very nice! That intimacy was interrupted when someone rushed in to announce that Sarah Vaughan was in another room, and Joe went down and joined her for a few numbers. I wish I'd had the foresight to record that shit. -_-
  4. Nope, I'm not Ray! I did meet him at the Unterfahrt in Munich one night though...Got to talk for awhile. What a maniac of the trombone! I did a handful of dates with Barbara but never had a chance to record with her. I went to her apartment one time to pick up some charts. (Man, what a beauty! Oh yeah, I already mentioned that ) Most of the gigs I did with her were at the now defunct Allotria club, which was like 4 blocks from my apartment in Schwabing, the 'arts district' of Munich. The Unterfahrt (which translates to "under passage" btw) was the more smoky bohemian hang, where fewer big name acts would get booked. The Allotria was more upscale. I did get to play with Charlie Antolini a lot there. He is Germany's answer to Buddy Rich...in temper and technique. Sorry to get off thread, but this takes me back. Overall, Munich is a good scene. Lots of gigs, lots of variety. Tons of talent, and some of the native cats could actually swing!
  5. 1) Bob Havens and his New Orleans All stars LP (Southland records) on LP 2) Paul Bley Quintet on LP "barrage" (an ESP session reisssued on an Italian label) 3) Rick "cougar" Nelson live 4) Vienna Art Orchestra "European Suite" on CD
  6. What's the general consensus on Munich's Barbara Dennerlein? I lived in Bavaria in the late 80s for awhile, and I did a handful of gigs with her. She commonly played with a front line of 3 or 4 horns. I recall her being pretty decent, and a sincere student of the organ. She took the heritage seriously, but she was so damned gorgeous that it was hard to take HER seriously. Yeah, I am being sexist so sue me. Her dad always came to all the gigs, and he carted her B3 and Leslies in. Can't begrudge her for that I suppose. I just wondered how she ranks in fellow organist's opinions.
  7. As a kid growing up in the Dallas/FT Worth area, I vividly remember at least one cafeteria having a staff organist on duty. I have talked to JSngrey about this, and he remembers too. It was admittedly pretty lightweight stuff that the lady played (no chittlin' circuit blues there), but it was a nice slice of Americana to recall. A simpler kinder time! And it's a safe bet she wasn't playing a B3, but who knows! Maybe she had a Shirley Scott LP or two in her collection!
  8. I know this can't be the first thread on Baby Face Willette, but after riding to a gig and back with Sngrey and having heard BFW for the first time (courtesy of same co-passenger), I am now a convert! What a beautiful record..the one with Fred Jackson on tenor. Wow At any rate, Jim spoke of the mystery of Baby Face's fate. I did a google search this morning and stumbled across this "doodlin'" website. I certainly can't (and won't) vouch for the credibility of the author of this page, but he addresses this subject, and seems to have come to conclusions. For whatever it is worth, here is what I found (and, thanks Jim for the sounds! What Lola wants, Lola gets!) http://doodlinlounge.com/Stories/Willette.html
  9. I am trying to track down recordings of the song "You're my Everything", not necessarily vocal versions, but if they are exceptional, sure why not! What are some definitive recordings of this wonderful tune? Unusual treatments, etc. Since I started this thread a moment ago, I googled in search of the lyrics, and I see that there are more than one song with this title. I imagine that the one I seek is the "standard" or better yet, "classic" version. The version I am thinking of has the syllables "you're my ev" lined up melodically with three descending chromatic tones. And from what I see on the web, the title is the chorus of the tune. Sorry for the confusion
  10. CAL! I just got "Latin Kick" in the mail today. I bought it on Ebay, but haven't had time to drop the needle on it. On red vinyl too! The first Tjader LP I had was "Whiffenpoof Song" on Verve. Sometime over the past 20 years, it disappeared. I have seen copies here and there, but they are so pricey!
  11. I am a big fan and student of Cuban music, the evolution of salsa, charanga etc. I picked up a CD on Ebay by pianist Ramon Valle (unknown to me until now) entitled "Danza Negra" (Ramon Valle plays the music of Ernesto Lecuona) Very nice treatment of 10 of Lecuona's compositions...in radically different feels than originally written. Anyone familiar with this release? I am impressed with the playing of this tight quintet. Valle has major chops and tons of imaginative lines. Perico Sambeat (sop/alto saxes) is a mother-f*****! The trumpet player (Carlos Puig) has great lines, but his chops flag, like he laid off too long before the session. R. Valle - piano P. Sambeat - saxes C. Puig - tpt Omar Rodriguez - bass Heracio 'EL Negro' Hernandez - drums Nothing in the notes about the other members except their names. I assume that the horn players are German. Recorded and produced in Germany @ Bauer Studios/Ludwigsburg. 2001 Overall and excellent production. Great engineering and attention to details (no crummy jewel case here...High quality cardboard case with two flaps) Label: ACT Worth seeking out.
  12. A little risky, laying out that kind of bread to a seller with zero feedback.
  13. We all have experiences such as mine, but I will share anyway. Years ago I did a private party for an association of dental professionals at which many of the clients were soon well oiled. A couple of them tottered over to the bandstand and asked if they could sit in, using our instruments! Needless to say, this request was rebuffed (politely). The guitar player pointed out that his Gibson was valued at over $3K. The dentist blurted out "Its okay; if I break it, I'll buy you another one" Yeah, that inspires tons of confidence! To no surprise to many here, no one wanted to sit in on trombone , so I didn't have to say no.
  14. I agree with you, John. He was certainly one of the most individual stylists of the genre. Coming up in the Detroit scene, he actually got to play with Charlie Parker (on one occasion at least). That may not qualify him as a "bop" player, but it sure seems to get him in the right direction! By the way, Carl Fontana - who as many know co-led a successful 2 bone unit with Frank briefly before Rosolino's suicide - is featured in the book. (deservedly so) Carl and Frank were planning on releasing an LP of their collaboration. I have many bootleg recordings of them in club and concert settings. They were the alpha and omega of jazz trombone (IMHO). Their styles complimented each other perfectly; Carl being the linear, logical and smooth player and Frank the angular, explosive and unpredictable one. To hear them in person (which I was fortunate to do, some 6 weeks before Frank offed himself) was an experience I will never forget. They pushed each other to greater levels. Sorry to get somewhat off-topic. In looking through Yanow's book further, I notice that besides Rosolino, Frank Rehak and Jimmy Knepper are two other major bop trombonist also excluded/omitted. Of course, JJ is there, as well as Bennie Green, Kai Winding, Jimmy Cleveland, Eddie Bert, Bill Harris, et al. Go figure. I do like Yanow's books, so please don't think I am against his work per se.
  15. Despite my bias as to how important a figure Rosolino was in bebop trombone, I cannot fathom how he isn't at least mentioned. In reflection, I do agree that his personal life probably wasn't a factor. I would love to get Mr. Yanow's 2 cents on this though.
  16. I picked up a copy of Scott Yanow's book "Bebop". Overall, I would say it is a worthy addition to a jazz library, but I have a problem with it. That being the fact that bop trombonist Frank Rosolino is nowhere to be found in the book; not even as a footnote. Feel about him as you will, but Rosolino was one of the most original soloists in jazz, and most definitely a bebopper. I don't get it. Of course he was a troubled man, and he went out in a horrible way (everyone knows the details, so I won't go on), but that should not mean he is a forgotten man. Maybe I am wrong, but I have seen this in some other books on jazz as well. Is his personal history a mitigating reason for his exclusion? Input?
  17. Wow...For those of us who just can't get there for the show, I hope that a stuido session is on the horizon; especially if there is new material. I have had "Impact" for years, and have always treasured it. I have been looking for the second Strata East CT Big Band LP - again, for years - unsuccessfully. I don't imagine that these have ever made it to CD? If so, please tell me it's true! I know JSangrey has both LPs. I will just have to bug him to burn me a copy of the other LP (what is that one called btw?)
  18. I was recently pointed to this site. Just in case no one here has posted this before, here it is. A good site, worthy of exploring. Thanks! http://www.jackteagarden.com/
  19. This comes from Dallas bassist, Dan Bradford: TALKING WITH THE BAND The best time to discuss anything with the band in any meaningful way is at the middle of a song when all members are singing at the same time [such as a multi harmony part]. Our hearing is so advanced that we can pick out your tiny voice from the megawatt wall of sound blasting all around us. Musicians are expert lip readers too. If a musician does not reply to your question or comment during a tune, take this very personally. Singers have the ability to sprout a second mouth to talk with you and sing at the same time; if the singer doesn't, it's because they are purposely ignoring you; if this happens, immediately cop an attitude, we love this. When an entertainer leans over to hear you better, grab his or her head and yell directly into their ear, holding their head so they cannot pull away from you, this is an invitation to a friendly game of tug of war between their head and your hands. Disregard any respect for the musician's hearing. REQUESTS Musicians are expert mind readers. Only refer to your requests with the phrase "play my song"! We have a chip implanted in our heads with an unlimited database with the favorite tunes of every patron who ever walked into the bar, so feel free to be vague, we love the challenge. If we do not remember exactly what tune you want, it's an intentional ploy to offend you. Remember, entertainers live to be offensive; we stay up all night thinking up ways to do this; we also never get enough abuse so any abuse that you add will keep us in line. If a band tells you they do not know a song you want to hear, they either forgot that they know the tune or they are lying to you. Try singing a few words for the band; if one member halfway knows part of a chorus, the rest of the band will instantly learn the entire song by osmosis. Knowing this, if the band still claims to not know your song just keep requesting the same song ad nauseum. Never try to request another tune the band actually knows. Scream your request from across the room several times per set followed by the phrases, AW COME ON! and, YOU SUCK! Exaggerated hand gestures expressing disapproval from the dance floor are a big help such as the thumbs down or your middle finger. Put-downs are the best way to jog a band's memory. This instantly promotes you to the status of Personal Friend Of The Band. If your choice of music is a complete departure from what the crowd loves (and cannot get enough of), i. e. if they play original Blues, ignore this. Simply put a lot of money into the tip jar to bolster your argument; this will circumvent any lack of knowledge they have about your requested tune. The more money with which you tip the band, the more power you have to dictate what happens on stage. Feel free to use your money to bully the band. Entertainers are notorious fakers and never prepare for shows, they simply walk on stage with no prior thought to what they will do once they arrive. An entertainer's job is so easy, even a monkey could do it, so don't let them off the hook. The band and club's income does not depend upon numbers of people patronizing the bar; screw them. Your request is all that matters. If a metal band had played at the club for the last few weeks, the next band that follows will automatically know every metal tune the previous band played, even if the current band is a blues or country band. It's the law. Feel free to yell AC DC or SLAYER!! to a band that plays strictly originals or jazz for example. Conversely, Deadheads may yell for Grateful Dead tunes at a dance or metal band. HELPING THE BAND If you inform the band that you are a musician in a garage band or singer in a Karaoke bar, be sure to let them know that you can run rings around them and they need you in their band. In fact the sole reason the band has not exploded onto the charts is because they do not have you as their big break. And besides, that black guy singing the blues is just copying the Downchild, and Clapton, in spite of the fact that he's 63 years old. Tell the musicians unequivocally that your mere presence as a member of their band will save them from the depths of mediocrity and assure them of success beyond their wildest dreams. This works every time. If the band continues to refuse your repeated demands to perform with them, stand on the dance floor and perform with every tune they do. If they won't let you perform with them, be disruptive. Do everything you can to be louder than the band. Nothing asserts your superiority like an out of tune harmonica, vocalist or a tambourine played out of tempo. For extra credit, use these instruments in tunes that do not have them in the original recording; musicians love to play cover tunes with instruments that do not belong there; they will overlook how badly you play and will wonder how they have gotten along all these years without you. BONUS TIP: As a last resort, wait until the band takes a break and then get on stage and start playing their instruments; even if you are ejected from the club, you have made your point. The band will call you immediately the following day to offer you a position.
  20. One thing I neglected to mention - and it is an attractive feature - is that this amp has 2 phono outs. I have never really NEEDED to have two TTs hooked up, but this amp gives the option. Now the bad news: the cat selling it said it worked the last time he checked, but now it doesn't want to power a signal. The light comes on, but that's it. Fortunately I didn't buy it, but am waiting to see if the seller solves the problem. Thanks for the feedback all.
  21. I came across a Technics stereo amp. It is model SUV909. It is a direct dc amp. Can anyone explain exactly what that is, and what differentiates it from any other amp? I get the impression that this was a high end model. Is anyone here familiar with it? I can get it for $59. Seems like a steal. Unless I misread the info on the back of the amp, it has 870 amps. That seems extreme. Thanks again.
  22. A dumb question for the veteran audiophiles to address: Is it possible/advisable to use pro audio gear for home stereo applications? Specifically, I suppose I speak of power amps, rack gear etc that one would normally see used with live music (ie: club, concert, etc). I have wondered if adapting a high quality pro audio amp for home use (paired with a pre amp of course so as to be able to have the phono/tuner/etc connections) would equate to high quality home sound. Of course, the speakers would have to match up, etc. Just a thought. Thanks
  23. I was fortunate to have been in attendance at the party. (meeting Chuck was a great pleasure) I sat in awe while listening to the music in discussion. There was a hush in the room, one of reverance at what we were hearing. There seemed to be an unspoken awareness of the fact that those of us seated in that room were one of few people that had EVER heard this music that was set down on acetate nealy 5 decades earlier. It was a priceless experience. Thank you Chuck for sharing this with us. Thanks Jim for inviting me over to the soiree; the bbq was great! I can hardly wait until this music is released on CD!
  24. Two Lps: Richard Davis trio "Song for Wounded Knee" (Flying Dutchman) w/ Joe Beck and J DeJohnette Marion Brown "Three for Shepp" (Impulse A-9139) w/ Norris Jones, Bobby Capp, Dave Burrell, Grachan Moncur III, Beaver Harris and Stanley Cowell
×
×
  • Create New...