fasstrack

And how was that Shorter book? Anyone read it? BTW: For the people that asked about the Pres interviews in the bio previously alluded to (By Douglas Henry Daniels) there are indeed many snippets of Pres interviews but incredibly they do not appear to be credited in footnotes. For those that asked what he talked about: his practice habits (played with records); reading technique; love for Bix and Trambauer---among other things. Also the book is better than I thought: There are very good insights into his childhood and family life and his early life on the road. It's just kind of dry. The sociological slant is kind of different for a jazz bio and, I suppose, even necessary once in a while. Just have some nice strong espresso before reading. Maybe take it out of the library. It's far from worthless.

Maybe you're thinking of the Haskins that did the bio on Nat Cole a few years back? A pretty good one, too, as I recall.

Numerous interviews with Young? Tell us about them--who conducted the interviews and what did Prez say in them? Someone asked me that already. I really don't remember now. I have to look again. Maybe my mind is playing tricks on me. I seem to remember some interviews.

Why not? They have a lot in common, not the least of which they're both the subject of books. Let's hope the one on Lee is deserving of the subject. I actually would like to read a good book about Lee Morgan, especially if it touches on the other figures that were part of the NY scene in his day.

Thanks for reminding me of the title of the 'good' book, Larry. I thought it was James Gavin, not that I want to publicize him or his ill-gotten-gains. I mean, look, I really try to avoid putting any artist or any person down. I know how hard it is and also want to look on the bright side. But this claptrap was downright offensive. On every other page was a drug-related mini-drama that made a Tom Waits song seem like a Sunday school hymn. I heard Gavin being interviewed on the book tour and the first thing he proved was his utter cluelessness about music. OK, he still could've done a respectable and honest portrait of the artist/man. Maybe Chet was the self-absorbed scumbag therein described. I'm not saying flinch or sugarcoat. But he made a fine point of turning over every stone to find another dark tale to sell his junkie chic and image pimping. It was like walking into a very bad William Burroughs novel. Books like that (and parts of Art Pepper's Straight Life, though I admit I couldn't put it down) also make me realize the more I know about some of these guys the more I wishI knew only their music. Life does not imitate art often enough.

Didn't bother with the Pres book but have to wonder about "numerous interviews with Pres". What are these and can you list them. I only know of a couple. A member did one of them. Sorry, I can't. The whole affair was so dry I fell asleep during it. Come to think of it maybe I'll crack it again tonight. Man, I'm bushed ....

Thanks. (OMG. that picture! As I heard Sonny Fortune remark about an old photo of him with long sideburns "I was definitely trying to figure it out").

Wow. I never even heard of that band. I think the wildest aspect of Andy is definitely his piano playing. There's no way to describe it. You just have to hang on every weird note and listen for sudden hairpin turns. I'm a friend of the guitar player in the band, Paul Meyers. He introduced me to Andy and to talk to him is like listening to him perform. He seems likeable and with a devilish sense of humor. I reminded him that I played a tune or two with him once at Barry Harris' Jazz Cultural Theater over 20 years ago. We were talking about that place and how great it was. I probably was too young and stupid back then to realize what a formidable talent I was even jamming with that night. I knew his name, at least (whoopdie f'in' doo...) and I do recall through the haze of memory and dearly departed brain cells that he sang as well as played.

All's I know is he turned up on a gig a friend of mine had around 8 years ago. A place called Copeland's, around in Harlem for years. I remember sitting in with them but not much about his playing on that 'piano'. Anyway, he was alive and playing then. Sorry I can't be more helpful.

You got that right. I bought the Pres book and read it in hopes that it would be the latter. Alas, it was very much the former. As a sociological study of Greenville, Miss., and Kansas City Kansas; and for filling in some details of the man's family background it was worth something. But the author got nowhere near Lester Young the man or the artist despite numerous interviews with Pres. That's worse than burning spaghetti! What a bore. I haven't read a jazz 'biography' since the dreadful piece of image-pimping about Chet Baker called Deep in a Dream (The Long Night of Chet Baker) removed all desire to do that for some time to come.....(A book on Chet by a Dutch author whose name escapes me now got it right IMO, and in much fewer pages. Musical art imitating literary art? Or maybe just superior minds thinking alike and scholar drawn to subject due to empathy. I'm kicking myself because I want to recommend this book and can't remember the author's name. (First name started with J, I think) Anyone read it and want to help us out?

Quartet: himself; guitar (Paul Meyers), bass (Japanese name, been w/group at least 2 years), drums (Gerald Clemmons) Standards, some jazz pieces, bossas, anything, really * Jazz Standard (thru Sunday) * He can take anything and make it his own, which is my point. He took me out of my own comfort zone, which for the last few years has been presenting melodies pretty much as-is then going for in-the-moment blowing. He's a human rubber band, stretching forms. He's also a human boot, stepping on assumptions like they were so many roaches. He really takes the listener (and the band) on a trip and you have to pay close attention or he'll lose you. He lost me a couple of times and I'm a professional. If that's the case, Lord only knows how the non-playing fan reacted. They really seemed to dig it, though, which is a testament to his incredible ability to communicate on his own terms. Like I said, he's an original and mind-blowing.

I've visited that site before and it's excellent. His insights are really worth reading. People interested in Mulligan, jazz of the 50s, or well-presented oral history and lore in general would do well to give that link a visit IMO.

He is really a trip, and that rarest of rare birds, a true original. His whole group, not just him, was conversing on a level of trust and listening that's hard to describe. And he set the tone. I can't really say much more, but if you ever get a chance to catch him live, do. It'll be nothing less than interesting. It also might just blow your mind like it did mine.

** It's the wave of the present, my friend. Why woo a dinosaur when they're already extinct and will probably reject you anyway? I mean, don't get me wrong: you got nothing to lose but postage or a few phone calls so whay not? But the future is not in record companies. The past (and, granted, sometimes a glorious one) is in record companies. The present is (are?) the things you enumerated, good sir. ** If you can get that good for you, of course do it. I never really tried to get on a label but at this stage oif the game I believe in what I do, the folks I choose to do it with, the blissfully total absence of politics and marketing weasels f'ing with a project my life has gone into.....etc. etc. too much to let someone else do an inferior or compromised job. You get tours, BTW, by getting on the phone, being nice and not pushy, and being smart enough not to feed at the same trough all the other pigs go to. Mark Elf, or anyone else with the brains and balls to do the same, would probably tell you that he's much better off where he is than in the backwater of a larger company that won't break a sweat to move his product. He's a 50+ Jewish guitar player (like myself, BTW) and nowhere near the 'profile' of the few remaining jazz artists they're even trying to push anymore. Let's get real. There's a way these bean-counters think. I'd buy Marks's CD just to support him. because i believe what he did is the way to go---but mostly b/c it's likely good music. And you know what? If he marketed it with an accent on 'hard-working American enterpeneur hoists own pitard', and 'scrappy jazz guitarist shifts for himself' angles, he'll sell. Mark my words the man will sell. Maybe not into the millions, but what jazz album does? Especially a jazz guitar album? HELLO! How's the weather up there in the 7th galaxy? Down here it's just fine thanks to Mr. Elf and his ilk (Man, that would be a lame name for a band....). Count me in on the next chorus, too. When my project is ready to roll I'm taking my case directly to the people. If I'm as positive, friendly, have as quality a product with quality material and performers as I intend to show the people I am, I will do more than sell a few CDs. I will begin a long-term relationship with repeat business. They say 'build it and they will come'. Fine. I say 'build it and bring it to them'. More fun than waiting and better excercise, too

That's right. But there's more guys doing it than you think (me included). The record companies are dinosuars. Even they know it.* The last stake through the heart driven in through CD Baby, Kazaa, personal websites, etc. It's better anyway, you know. The only good thing about capatalism is shit or get off the pot. It's a rough road to travel it's true, but in the end you sleep well not having had to succumb to politics, marketing weasels f'ing over you the artist's intentions, plans, and (what balls they have) programming order. You sleep a whole lot better and feel good about yourself. So you're not rich. Who is? Not most of us poor slobs. We can make art, though, and spread joy. (soapbox alert: if you are ofended by editorializing by starving artists turn away from this post for the next 12 seconds, or the start of Leno---whichever comes first ) Can most of the rich and clueless? Can they? (I love these wacky emoticons. It's like being on a jungle jim *"Kay. My father's way of doing things is finished. Even he knows that. In ten years the Corleones will be completely legitimate....."

He always seemed like a nice guy. Money was his thing---like music is some of ours. Would that I wasn't born so stupid and was instead more like him. I'd be making some equally smart (and beautiful) woman very happy right about now I'm not sure exactly what happened and sure don't care, but I thought PBS was pretty classless to dump his show.

I like what I've heard. It's pretty funny but not only are we both jazz guitarists, but our fathers were paperhangers and worked together sometimes. Honest injun! I haven't seen Mark in years, though, and we've only met once or twice anyway. He's a pro and a veteran and can play damn good, that's for sure.

I only provide hookers these days. Only ugly ones, too. You must be really, really popular then. Among guys that can't get any, no matter what they try. And lepers.

All of it. The grind of hunting down gigs, people in your face when you're trying to get something your own self. The gig-stealers, the undersellers, etc. I mean I try to get out there as much as possible and it's not hard for me to put out a good vibe because I believe in it and am naturally upbeat. But, Jesus does this shit wear on my nerves after a while. The machinations undergone for a little $50 gig, etc. The people giving you cards and CDs unasked. It's embarrassing and depressing sometimes. The upside is when you find something your self-esteem rightfully rises geometrically, especially if you try to be a class act and live by the golden rule or at least one of its cousins. Plus, I'd rather be in NY than anywhere on earth and be accepted on the scene here. I'm actually having the time of my life playing right now. But the hustling part.......You got the next chorus:

Funny. But you really shouldn't skip 'em. especially the being nice part. That'll last longer than we or our music will. Shit talking will never die, sad-to-say. Too many jealous unemployed morons for that to happen. A no brainer to survive longer than the Norwegian rat.....

Gimme his #, MF

. Hustling and hustlers? It's part of the game. I like getting out there, it beats the hell out of staying home, right? And little by little, I guess by attrition things are starting to happen. But it wears on my nerves. Tonight I took the first Monday night off from 'hanging' w/the axe and sitting in, etc. Not many of you are NYers, so I'll tell you one thing: this is a hustler's town. Too many pigs feeding at too small a trough. People I haven't met walking up to me w/their CD---like I'm working and stuff. For me I'm learning that patience and treating people well and fairly goes a long way. What are you guys/gals experiences in your respective towns/scenes?

Bitchin' story, dude. You know how much intensity went into his playing and life within three notes. I'm sorry I never caught him live, kicking myself. All those times in the Vanguard in recent years.....Ah, well, at least there are the recordings. And I don't know if anyone mentioned it, but Like It Is w/Gil Noble (WABC TV, channel 7 here in NYC) replayed a great interview from last year, I believe. Gil and Jackie, two homies from kneepants days walking around the old 'hood (Sugar Hill, Harlem) and Jackie saying some incredibly wise things. He talked about the jazz life and people, of course, but also about how when Bird told him about the Rite of Spring he got off the bus, went to a music store, purchased it---and flipped f'ng out! He said 'this guy took rhythms from Africa, the Mideast, and melodies from Mars. That interview was deep. They also had a long tribute on WKCR FM here in NY where they played archived interviews that were mind-blowing in their wisdom, concern for the world, and brutal, naked honesty.