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. So, What Are You Listening To NOW?

    This is excellent -- easily the best thing I've heard from Buddy's post-1968 bands. Thanks for posting..
  2. Happy 90th birthday Tom Lehrer

    Plagiarize! Let no one else's work evade your eyes Remember why the good Lord made your eyes So don't shade your eyes But plagiarize, plagiarize, plagiarize (spoken) Only be sure always call it please "research"
  3. The great satirist Tom Lehrer was born 90 years ago today on April 9, 1928. I listened a few months ago to his brilliant 1965 LP "That Was the Year That Was" and was struck by how relevant many of the songs remain in the age of Trump. This one could have been dedicated to Scott Pruitt and Michigan state officials responsible for the Flint crisis. The performance here is from Norway in 1967 -- three years before the the EPA was founded.
  4. Rich Versus Roach

    Word. Coda: It's always been interesting to me the way Buddy (particularly through the influence of Roach) modernized his cymbal beat and left-hand accents during the '50s and '60s without losing the swing era roots of is beat. Later he played his own version of rock and funk. Has any drummer in jazz traveled as far -- from "Hawaiian War Chant" to Zawinul's "Birdland"?
  5. Rich Versus Roach

    Thanks for posting. Yes, fascinating record, and a lot better than most folks would probably think.
  6. I'd buy this

    I have no doubt that Connors was the issue. However, I really want to hear what Jackie sounds like playing over "In Case You Haven't Heard."
  7. There was a great quote on one of his recordings -- I think it was one of the Bruckner symphonies -- in which Celibidache is talking about the ineptness of other conductors (everyone but him, natch) in this particular repertoire and and he calls them all "camel jockeys," Having said that, he was not as profound in all things as he thought he was. But his outrageous attitudes and opinions were exactly what allowed him to be as profound as he was in the things in which he actually was. Complicated man and musician. Gotta go composer by composer, piece by piece with him. Sometimes sometimes movement by movement, One of a kind.
  8. I knew some about Pat Martino's journey and brain surgery, etc., but this story goes deep on the neuroscience. Wow.
  9. Help!

    Agreed. But it gets get wearisome after a while.
  10. Hubert Laws

    More notable for Sonny playing some of the purest bebop of his post-1972 career, but Laws sounds good too. Have always preferred Laws with others rather than his own dates. He's excellent on McCoy's "Together," recorded in 1978 — an all-star date that gels quite nicely. This is Laws' tune.
  11. So, What Are You Listening To NOW?

    Great record -- I think it's the all-around best late-period Pepper and in a one-record, one-artist challenge it might be my pick, especially if I could include this track from the same session. Tremendous alto solo here.
  12. Shirley Scott

    Of the records that I know without Stanley Turrentine, I'm fond of "Shirley Scott Plays Horace Silver," 11/6/61, with Henry Grimes and Candy Finch. Great moment here at 2:45, after a couple seconds of silence. You think it's going to be a bass solo. But ...
  13. RIP Olly Wilson

    I was saddened to hear of Wilson's passing. I heard a a number of his orchestral works here -- former Detroit Symphony music director Neeme Jarvi championed Wilson's music and, more recently, Leonard Slatkin conducted Wilson's "Lumina" eight or nine years ago. I also interviewed Wilson at length for a long-gone online repository of American music -- I can't remember now who organized it, maybe New Music Box or the American Music Center or the League of American Orchestras. But the idea was to create a reference site for orchestras looking to program new music. There were two components to each entry: a long interview with the composer and then an in-depth analysis of a major work. I wrote the piece(s) on Wilson and "Lumina." Somewhere I may still have the score. (I would like to find out whatever happened to that interview and analysis -- I haven't thought about it in a while; I hope I have a hard copy somewhere in my files.) Wilson was a deep man and composer. He knew an incredible amount of music and spoke with a distinctive, modernist voice. Not every piece was the same, and he could just as easily draw upon Stravinsky as Lutoslawski as African-American spirituals or post-war jazz -- yet everything came out organic, never pastiche. Rhythm, timbre and color were central and there was something improvisatory about his gestures, even when every element was fairly strictly controlled. He was an "ear" composer not a "system" composer, but he knew whatever system you wanted to lay on him. He was also a fine teacher by all accounts, and I know he and James Newton became close. He'll be missed.
  14. Do you know Charlie Parker?

    Agree. He played it, even endorsed it, and I think I've seen references that some horns had his named engraved on it, perhaps as if it was a "Charlie Parker model." But that's not the same thing as it was designed for him. I'm by no means a saxophone historian,, but I've been around the instrument and players talking horns for most of my life and I've never heard folks say that King designed the Super 20 expressly for Bird. Doesn't mean they didn't,, but I want proof.
  15. Mingus Moves

    Re: Belgrave, Walrath and "Changes" I've researched this for my chapter about Belgrave in my upcoming book. Without going into too much detail here, I can tell you that Jack joined the band shortly before the "Changes" sessions and Mingus, as he often did with new members, put him through some bullying/ hazing rituals that had to do with whether Marcus or Jack would play a contemporaneous gig at the Five Spot and who would do what on the "Changes" recording sessions. One result was that Jack played more solos on the session, but Mingus cut them in the editing.