fasstrack

I played with your dad once in the early 80s. Just a session at a mutual friend's home. But I remember to this day the impression, contours, and even content of what he played. He was really 'on' that day, too. It was thrilling. One lasting impression: the way he phrased ahead of the beat but never rushed reminded me of the Brazilian singers like Jaou Gilberto (sp?) or Elis Regina. Just a way of surging ahead with a forward motion that was so natural sounding and light and catching up with the time in such ingenious ways. He really was a source unto himself, too, though evolving out of Pres and others (I hear a lot of Bach study, too). Very heavy dude. We hung out and took a break, all of us, and he regaled us with his philosophy on life---which seemed resigned, wise, and pretty damn funny. And I proudly remember him paying me the tersest, and perhaps most appreciated compliment of my young and less-than-mature musical life (I was 28): Warne turned to me after we played and said "Yeah. What's your name?"

Didn't he play french horn on Birth of the Cool?

I mostly teach and my last years of paying dues are finally seeing dividends. (Plus, I like it. Tremendously). Would that the same were true for my playing and composing career. But I keep at it, because the wound sustained falling on my head as an infant never really healed I've rarely made any money from jazz, though when I worked I did and played with people I respected and situations I enjoyed. So I can't complain. But realistically, jazz is a thing primarily of enjoyment now. But because I always wrote music and my soul is as much or more there as playing I'm pushing ahead with that professionally now. I believe in it and feel there's a market. The world needs good songs and someone has to write new ones. (plus the teaching leaves plenty of time to write and play) So, again, jazz ditties/charts, etc. I'll continue to write for my amusement, for a gig where something would go good, or if someone else asks me. But the short answer is: yes, sure do teach.

And a little less than poor.....

Had to be Jerry Weldon. In fact I know that to be true, as they played Showman's together for years. That's where i first heard and met Bobby, in fact. They were like two peas in a pod. And given that, who wouldn't be bummed?

Just started shoveling out at least the wheels of my car. Too much to do the whole thing at once as out of shape as I am. So the 'good news': there's a whole lot such excercise ahead later.....

You're right Fasstrack. I don't know why he didn't appear in my original list up at the front of the thread. I have his "Organic chemistry" album and love it. I also love the work he did with Ruth Brown and Irene Reid. He made and LP for Dobre in the late 70s, which I wish I had, too. But he didn't make nearly as many records as someone of his talent should have. MG What was the name of that record on Dobre? Good label. They also recorded Ray Crawford, the guitarist. I have Organic Chemistry. They really spank "Undecided" on that one. I've known William Ash since he was 14. He's a freaky player, one of the most natural guitar players. That was a nice group with Bubba Brooks and Tootsie Beam. They worked a lot at Smalls under William's name. I heard them there. Guys, let me know what other good recordings of Bobby's are still obtainable. There are two with him and Jerry, and like I said they had a great chemistry. They were like brothers. The one I have is Five by Five (damn, it's Jerry's. I gotta remind him I have it!). I forget the other title, but they're both on Cat's Paw, a tiny indie on Long Island. I also know Bobby worked with Stanley T., but don't know if they recorded. He's also on a few cuts of a fairly recent and terrific recording by Gloria Lynne: This one's on me. I've got the Gloria Lynne; Bobby makes her version of Kenny Burrell's "All day long" simply wonderful. I've just started looking Bobby up in the All Music Guide and the first thing I noticed was he did an album with Frank Wess: "Going Wess" - Town Crier 518, which is theoretically still available. Putting that on my (endless) list. MG Yeah, I've seen that CD (Going Wess) at the library. They're all wearing tuxes on the cover, right? Or maybe I dreamed it....Thanks for reminding me. I love the way Gloria sings "When Autumn comes" on that CD, BTW. And Rodney Jones did a nice job arranging. In fact I'm gonna put that on now.

You're right Fasstrack. I don't know why he didn't appear in my original list up at the front of the thread. I have his "Organic chemistry" album and love it. I also love the work he did with Ruth Brown and Irene Reid. He made and LP for Dobre in the late 70s, which I wish I had, too. But he didn't make nearly as many records as someone of his talent should have. MG What was the name of that record on Dobre? Good label. They also recorded Ray Crawford, the guitarist. I have Organic Chemistry. They really spank "Undecided" on that one. I've known William Ash since he was 14. He's a freaky player, one of the most natural guitar players. That was a nice group with Bubba Brooks and Tootsie Bean. They worked a lot at Smalls under William's name. I heard them there. Guys, let me know what other good recordings of Bobby's are still obtainable. There are two with him and Jerry, and like I said they had a great chemistry. They were like brothers. The one I have is Five by Five (damn, it's Jerry's. I gotta remind him I have it!). I forget the other title, but they're both on Cat's Paw, a tiny indie on Long Island. I also know Bobby worked with Stanley T., but don't know if they recorded. He's also on a few cuts of a fairly recent and terrific recording by Gloria Lynne: This One's on Me.

I wanted to mention a guy I was playing with before his death in 2002: Bobby Forrester. I knew him from around before that and knew he was the guy I wanted on organ if I was gonna go that route. I formed a group with him, Jerry Weldon on tenor (they were very tight, going back years) and Rudy Petschauer, drums. We had exactly one gig and one rehearsal and it's too bad it didn't go any further because it really would have been more than good. I'm not sure why Bobby flew under the radar in the jazz world, but anyway he always worked---and with great players and singers. Everyone that hired him loved him. Here's why, in my estimation: He had as good a feel as anyone I ever heard or played with; he could swing most guys under the table (when he locked up with a good drummer, look out); if he didn't know every tune ever written he came damn close, and if he didn't know something you called he had it within a chorus; he was dedicated to making you and your team sound great; he burned the midnight oil to learn my material and came to the gig pumped and ready to give his all. He played behind me on that one gig on "Spring Can Really Hang You Up the Most" so beautifully it gave me chills, and I'll never forget it. (We were cancelled after that first week. Old story....). Beyond that all I can say is I enjoyed the hell out of his solos. Also, we did one gig with him on paino and no bass, just me on guitar and a trumpet player---and the time and feel were so happening I never missed a bass. Finally, he was an old-school. no-bullshit musician of a breed that's dying fast. He learned it on the bandstand, and knew it inside out. If you see any recordings with him on it, grab them. You won't be sorry.

BTW Christiern: (and this is my last comment on this. Definitely no interest in Internet beefs)To be candid, my sarcasm reference seems to have shot over your head. it was a response not to you, but JHoots' on-the-money take on your post. Best, though.

If you say so.

That was a long "no comment". Please post a photo of yourself so we can compare. Good one. Ditto. A little sarcasm goes a long way. Sorry Christiern, but I found much of that that none too funny and not a little mean-spirited (survive a stroke at 76 and come back to full form in looks and activity, then we'll talk. We'll also see how you take to people talking shit about you). The pure opinion stuff is cool, though just that, opinion. As for my own opinion, I have met Dr. Billy not through the music business, but because (like Louis Hayes and a few of my musician friends/peers) he lives in my neighborhood, Riverdale, NY. Not only has he been approachable and friendly when I did meet him (though not knowing me from Adam and fully within his rights to tell me to screw off) on one occasion when I ran into in a local restaurant he did the following: Not only helped guide me to a way to get a lifetime achievement plaque for my friend and mentor Bill Finegan, he (again not knowing me from Adam) specified that I could mention his name. Well, Bill ultimately got his plaque (from ASCAP, not the Kennedy Center, whom I had in mind when approaching him and got his blessing to contact). But I thought that was a beautiful gesture. And that's my one and only Billy Taylor story.

Show me the person who wouldn't get a laugh out of it and I'll show you a corpse.

I gotta write this while it's fresh and before I die laughing. And I swear it's 100% true. I just heard it on the 11 o' clock news: The Brooklyn Borough President, Marty Markowitz, had a fund-raiser for underprivileged kids. He has this fundraiser every year and I think it's called Child of Mis-fortune, because they have it in a Chinese restaurant and the wrap-up is that they give out fortune cookies at the end to put every one in a good mood, etc., right? But this year there was a fuckup. Everything went according to plan and Markowitz was looking forward to the highlight, the people opening their humorous fortune cookies----which, as usual, he proudly picked out. So a guest pulls him aside and says "Er, Marty. Did you see these fortune cookies?" "See them? I picked them!" So he looks at them, and they're all risque to dirty jokes in there. Shit like "you sexy thing. I can't wait". Turns out there was a mixup and Markowitz's party got cookies meant for a bachelor party. (Probably they got his). Needless to say, both had a shitty party. Markowitz, in the interview, was pretty good-humored, saying "Next year it's gonna be fresh fruit". But the part that had me doubled over and still does is when they mentioned the name of the party food company that fucked up (on my honor): THE HA HA FOOD COMPANY!!

Except Herbie on "Speak Like a Child" and "The Prisoner". And speaking of Herbie... ...how about Wayne for this thread?? The tunes he wrote for Miles sure are incredibly distinctive, as as nearly all of his other tunes (at least in the 60's - I'm less familiar with his tunes after about 1970). Same with Herbie, for that matter. I believe those charts were done not by Herbie but Thad Jones. Herbie's tunes, though. Correct me if I'm wrong. Don't think I am, though.

They took my debit card. And delivered in one day. BTW: I answered your query about Sam Brown earlier in the thread. Since you didn't comment I figure you missed it. Or not....

It's just $16, for chrissakes! And it came the next day! Luke Kaven delivered it himself, CD in mouth and tongue and tail wagging. OK, I made the last part up. (But let's face it, we're all friends here, a broke-ass indie label? it was like GEEZ. A CUSTOMER. I'M WETTING MYSELF!)). I'd turn that hunger to my advantage. Er,...wait a minute. I did.....

Tank-a-you fellas. Nice to know people care. To BirdandDizzy: I tried to answer your PM but it wouldn't send (speaking of aggravating websites So thank you also.

What he said. Hey Joe. Joel Fass here. I may get down to the upper peninsula this summer.

It's a sad story. I knew him a bit when I was just 'out the crib'. He was a tormented guy, though a nice, soulful one. Drugs and drink and then getting crossed signals from AA types who said no drugs and shrinks who gave him industrial strength Thorazine. He wound up offing himself in a way so gruesome I won't divulge it out of respect to his memory. A fucking classic nightmare. But he was a very original, soulful player. He did some things on nylon string guitar that were uniquely him. But the externals clouded/shut down his capabilities. Also, he's another guy on a million dates that never showed what he could do. I didn't know him as well as Eddie, but he was tight with another guitar player friend of mine and I heard him a bunch in the late 70s. We played once when I was a kid, too. The stuff with Keith Jarrett, the little I admittedly heard, don't make his case at all (though they're good records). I think one thing he did with the Dave Matthews big band came close to what he sounded like.

I am guessing JohnS meant this should be in the artists or new releases category versus album of the week. Anyway, thanks for the info - didn't he play on a Hank Mobley album in the late 60s? 1970. "Thinking of Home". He also worked (with the late Sam Brown also on guitar) and maybe recorded with Miriam Makeba. I'll ask him. There are some other nice dates that I think show Eddie off better than on that Hank record, although it's nice. I like an Al Haig record called "Manhattan Memories". Nice solo on Cedar Walton's "Something in Common" and Al featured him on "My Little Brown Book". That's probably next to impossible to find, but it really sounds like the Eddie I know---and we played together for like 20 years. There are also some McDuff things where he's buried and you can't tell what he can do. Eddie's a quiet player. I think the date that this thread is about is really his best. Hank and Mickey really read his mind and the little bit of trading with hank is really a lovely, swinging conversation among wise men. I know he's proud of it.

Did y'all hear Benny Golson's story about that tune? Probably, but it's pretty funny: He says so many times a melody came to him in a dream or while half asleep and he would say "That's good, I gotta write that down in the morning". Of course he would never remember it and it would be lost in the ether. So one day a melody came to him and he said "this time I'm writing it down. Now". He got up and went to his studio, jotted the tune down and went back to bed. Next morning he wakes up and goes to check it out. He had written down the verse to "Stardust"......

There are certain tunes which would be almost criminal to do without the verse. "Spring can Really Hang You up the Most" comes to mind. The verse is such a strong setup for the story and the lyric, melody and changes are so perfect and perfectly interdependent that I've almost never heard it done without the verse (the one exception was Barbra Streisand on the Tonight Show, early 60s. But they were dealing with tight time restraints. On the other hand "My Foolish Heart" has a beautiful 8 bar verse that's practically never done. Tony Bennett did it with Bill Evans on their first collaboration. I think "Young and Foolish" gets short shrifted too, speaking of titles with 'foolish' in them (not to mention foolish acts).

Why not? Should I move it to another category? Help me out. I want people to get this CD, it's good.

I just wanted to put this out here because I know y'all are jazz listeners of discriminating tastes. Eddie Diehl, one of my oldest friends and a definite mentor on my instrument (guitar---and not just to me) at the ripe age of 69 finally has a date out under his name. Musicians in the know around NY have long known Eddie as one of the most relaxed and swinging guitarists. His style and ideas are his own, too, though right down Bebop Lane. He recorded as a sideman with Jack McDuff, Hank Mobley, and Al Haig among others. Well, at long last the recalcitrant Mr. Diehl (I used to call him the Garbo of jazz guitar) was corralled into studio and the results made me smile. With Hank Jones as senior partner (and John Webber, bass; Mickey Roker, drums) real, mature, swinging jazz is played here. Eddie is one of those players who burn on a low flame and speak, not scream, highly intelligent thoughts. Hank Jones is, well, Hank Jones. If you're looking for edgy, 'innovative' stuff maybe go to the next CD. But if you want to groove and feel some of life's special feelings get this. You won't be sorry and with more music like this in the world we might just stand a chance. Title: Eddie Diehl with Hank Jones: "Well, here it is" Order online at: www.lineagerecords.com