[John Gilmore]

Yes, he was an interesting, gutsy player. I liked what I heard. He seemed not bothered to be himself----a relatively rare attribute in art (and life) despite lip service to the contrary.

Do people here also know Pat Patrick's playing? He was good, too. Mostly known for bari, but a solid tenor player----good sound and swing. Chicago guy, too, I think.

I ran into Pat in the early 80s at Barry Harris's Jazz Cultural Theater. We became friendly. Great guy. He hit on me to work a duo gig, then ran into Eddie Diehl and used him instead. That was cool, Eddie's a great player---and a mentor of mine at the time ('82 or thereabouts). I wound up sitting in with them a bunch on that gig on the Upper Left Side.

Pat left us way too early. Sorry to get off topic, but I wanted too remind people about him. And it's not too off topic, since he and Gilmore were section mates with Ra.

[criss cross label]

Seen who live? Richard or Pete? I know both for years, so the answer would be yes. NY is a small town when it comes to jazz.

[Any composers out there?]

Thanks. Actually, it's more like a closed, debilitating poop. But we won't get into that now.

[criss cross label]

It's gratifying that people have mentioned Jimmy Raney. Someone mentioned Wisteria (with Tommy Flanagan and George Mraz). To that I'll simply add: there's also The Master. He's in great form on that: warm, loose, digging in. Raney '81 is good, too.

I also want to mention a few recordings by Richard Wyands on the label. I think jazz fans in the know aware of recordings of the last 40+ years might agree he's very underrated. He hasn't pursued a solo career and is the most self-effacing of men (and one of the sweetest). But he has the goods and these recordings are a good place to make his acquaintence. He has a well-deserved reputation among players (and singers) for swinging his behind off and being one of the best accompanists in the biz. I think his ideas and flow as a soloist are top drawer, too. (I've worked with him going back 19 years and part of this plug is based on what my own ears have heard on the bandstand).

I think one CD is called Reunited. Can't recall the other title but it has Ellington's Lady of the Lavender Mist on it. Lisle Atkinson on bass seems to ring a bell. Maybe the recordings can be had through Amazon.com. Think I've seen them there. But you can't go wrong with Richard.

[Any composers out there?]

No tricks other than waiting it out. I put the sucker away unfinished and look again when I'm less 'involved'. I had one case with a ballad waltz where it didn't feel right so i put it on my piano and forgot it for about 8 years, then rediscovered it and said 'wait a minute, this is pretty good'. I changed some things right then and there and the tune was good. When I'm writing for myself without a deadline I can afford to do that.

But I'm also an insane perfectionist---I'm sure many can relate. Since I got into writing lyrics recently (largely out of frustration in not being able to find a professional lyricist of quality and availability) the first lyric I wrote drove me nuts----and got pilloried by people I took it to that critique lyrics. (It helped, though. I needed to hear what they had to say). The first singer I sent it to hated my lyric--and was right (the diva bitch!). But, again after leaving it alone for some time, I rewrote it twice, recorded it then changed the verse (melody included). Now I mostly like it, and want to send it into the world and to a home with good singers. But to finish it? Damn!

But generally with melodies things usually go pretty smoothly, thank God. When they don't, see above.

Hope any of that helped. This s#@* don't come easy.

[Any composers out there?]

Would like to talk to fellow writers about a variety of subjects (small group/big band writing/arranging, songwriting w/lyrics, thoughts on the masters' work, exchange of info on getting things out there, etc.). So there's a lot to get into. Please dive in. We can teach each other things.

[WKCR IS BACK TO FULL POWER.]

Chris: Funny joke, but Phil's a great guy. Sincere as they come. I personally saw him stand over George Kelly's body at his wake in 1998, looking like he lost a friend. Yeah, he can talk his ass off and I'd prefer more music. But he also gets a lot of musicians to talk and open up and his archived interviews are a treasure trove. Gotta take the good with the bad. NY wouldn't be the same to me without Schaap. You just have to know him. Phil may run his mouth a bit long, but he's one of the best friends jazz ever had.