Mark Stryker

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About Mark Stryker

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    Groove Merchant
  • Birthday 08/10/1963

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  • Gender Male
  • Location detroit, mi

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  1. August 24 Japanese UA-era Blue Note Reissues

    Thanks for this. New information for me.
  2. August 24 Japanese UA-era Blue Note Reissues

    Seems to be this, which was new to me.
  3. August 24 Japanese UA-era Blue Note Reissues

    You know, I'm not sure I ever realized before that this was originally an LP release. I got the CD some years ago and always assumed it was a radio or sound board recording of a concert never previously issued. The liners on the CD surely explain the provenance, but I must have missed it. All that aside, it's great, though haven't heard it in a while. Is this concert where they also turn the form around on "The Moontrane"?
  4. New Erroll Garner?

    I wrote about it here, looking at Garner through the prism of his compositions. There are sound clips too.
  5. Jerry McKenzie v Jerry (Lestock) McKenzie

    But wouldn't a true Road Rat have stayed on the bus more or less forever, rather than departing for domestic life? Or am I missing some nuance to the definition? McKenzie (the 2nd, apparently) jumped off the bus in '62 for a decade, jumped back on for a minute 10 years later, before realizing that he preferred sleeping in the same bed every night rather than sleeping in the same bus seat.
  6. Jerry McKenzie v Jerry (Lestock) McKenzie

    I thought they were the same guy too until, um, this morning, when I was doing some legwork and began seeing references to two different guys. The second Jerry McKenzie is a longtime Detroit cat -- not so much a Road Rat, as he gave up the grind for family and stability, except for falling off the wagon and going back out for that second tenure with Kenton. I've heard him many times but actually only talked to him on one occasion that I can remember. But now I have to call him and figure out the puzzle.
  7. Wait, there are actually two guys named Jerry McKenzie who played drums with Stan Kenton in back-to-back tenures: Jerry McKenzie from 1957-59 and Jerry (Lestock) McKenzie from 1959-61, plus another brief tenure in '72? Seriously?
  8. Bill Watrous - RIP

    Many variations of this truism. My favorite has always been ascribed (probably apocryphally) to Zoot Sims at a recording session. Somebody is supposed to have asked Zoot how he could play so drunk. He replied, "I practice that way."
  9. Erroll Garner

    Well aware of this: In writing my forthcoming book on jazz musicians from Detroit, I was in and out of Lord a lot and I was surprised at how much stuff was missing.
  10. Erroll Garner

    I don't think there's any Garner on Mainstream. I just checked the Tom Lord discography and there are no Garner/Mainstream listings of either original or reissued sides. Lord does miss stuff on occasion, so it's certainly still possible.
  11. New Erroll Garner stuff coming next month. I riffed a little bit on his prolific but often overlooked compositions in this piece for
  12. Lorraine Gordon R.I.P.

    Seeing reliable social media posts from Renee Rosnes, Nate Chinen and Ethan Iverson that Lorraine Gordon has passed away at age 95. An amazing life.
  13. Cecil Taylor RIP

    Coda: Anyone who has done any historical research knows that musicians -- while being among the most valuable sources for lots of information (or the most valuable for some information) -- are unreliable on all kinds of topics like names and dates, chronology and motivations and others. They are also often blinded by their own aesthetic prejudices. In this they are no different from any other artists in any other field, and none of this should be taken as an excuse not give the musicians primacy in the telling of their own stories. (In fact, the blind spots can be self-revealing.) It is to say, however, that the responsibility of historians, journalists and critics is due diligence, fact checking, weighing of sources and transparency. I agree that the Shatz's piece was more interesting and insightful than lots of jazz scholarship, and I don't mean to suggest that the presence of this one particular issue invalidates the rest of the piece. But it does make me more skeptical about a lot of other things in the story -- from the "broken wrist" anecdote to the "burgler-turned-into-lover" story, since neither is really sourced and details as presented are sketchy,.
  14. Cecil Taylor RIP

    I get worked up because facts matter, and too much of what is received wisdom about jazz history is nothing more than mythology. It skews the history.
  15. Cecil Taylor RIP

    I enjoyed the piece, especially for the personal details and insights into Cecil's personality, but the bit about Miles nearly hiring Cecil but going with Herbie instead is unmitigated bullshit. When I read that, I sent Shatz a message on Twitter asking what his source was for that information and he wrote back: "William Parker." Now, the only way Parker would have known that is if Cecil had told him, and we know Cecil was not always a reliable narrator. It all has the ring of mythology on the part of Cecil and his defenders. I'm a fan too, but truth and history matters, especially around figures like Cecil who have spent their lives, and indeed cultivated, a scrim of mystery and ambiguity. Keep in mind that no one else has ever reported or said this, it contradicts spirit and substance of everything Miles and CT have ever said and the music they've made, and it makes absolutely no sense in terms of Miles aesthetic and repertoire in 1963 and what he wanted/expected from his rhythm section and piano in particular. I mean the whole idea is totally ludicrous. (The story, by the way, says the hiring nearly happened in '64, but of course Herbie joined in '63.) I have generally liked Shatz's work, but it is unconscionable for a journalist or critic to take the word of a single biased source on a matter that is clearly contentious and counter-intuitive and easily checked and then drop casually into an in-depth piece as if it obviously was true with no hint of the larger contex -- especially in an august forum like the the NYRB. Shatz's editor is at fault too, but in a case like this, it's unlikely the editor would know more about the subject than the writer, so it's primarily the Shatz's responsiblity. When I pointed some of this out, Shatz replied, " I hear you. I raised my eyebrow too. We will never know." Again: bullshit. That's akin to a politician making a clearly counterfactual statement based on a "source" and then when objections are raised saying "We'll never know the truth in these muddy waters." I don't mean to obsess over one detail in a 3,500 word essay, but this is representative of a real problem in jazz writing that is still with us, even as standards of scholarship have risen in the last 25 years