sheldonm Posted October 25, 2005 Report Share Posted October 25, 2005 Has Henry reunited with Cecil at all? That's another encounter I'd like to hear (if it hasn't happened already). ← There's your first question. Much better than asking if he likes the guys on Criss Cross. ← ....or if he likes Christopher Cross ! Quote Link to comment Share on other sites More sharing options...
GregN Posted October 25, 2005 Report Share Posted October 25, 2005 Has Henry reunited with Cecil at all? That's another encounter I'd like to hear (if it hasn't happened already). ← There's your first question. Much better than asking if he likes the guys on Criss Cross. ← Chuck has all their albums. Quote Link to comment Share on other sites More sharing options...
ghost of miles Posted October 25, 2005 Author Report Share Posted October 25, 2005 (edited) Clem, I've heard the same stories, albeit from much-more-removed sources, I'm sure. The topic of drugs and the late-1960s improv scene is a volatile one, you're right; I doubt I'll ask Henry about it during the live, on-air interview, but I might bring it up during the solitary Night Lights interview. It seems apparent from a number of articles that HG went through some difficult psychological times in the 1970s, and out of respect for him, that's not really a subject I want to explore. (Maybe more for a biographer who's already established a good relationship with him.) In a more general sense, though, it would be interesting to hear HG's reflections on the economic, cultural, and otherwise stresses of the circa-1967 improv world. Ghost of (trying to find you) Opel Edited October 25, 2005 by ghost of miles Quote Link to comment Share on other sites More sharing options...
7/4 Posted October 25, 2005 Report Share Posted October 25, 2005 Clem, I've heard the same stories, albeit from much-more-removed sources, I'm sure. The topic of drugs and the late-1960s improv scene is a volatile one, you're right; I doubt I'll ask Henry about it during the live, on-air interview, but I might bring it up during the solitary Night Lights interview. It seems apparent from a number of articles that HG went through some difficult psychological times in the 1970s, and out of respect for him, that's not really a subject I want to explore. (Maybe more for a biographer who's already established a good relationship with him.) In a more general sense, though, it would be interesting to hear HG's reflections on the economic, cultural, and otherwise stresses of the circa-1967 improv world. Ghost of (trying to find you) Opel ← Man, I haven't seen an Opel in years. Quote Link to comment Share on other sites More sharing options...
7/4 Posted October 25, 2005 Report Share Posted October 25, 2005 I do intend to ask him about the "silent time," but I've also anticipated what you refer to, Lazaro--that this has probably become a well-tread topic with him by now. And I'm quite interested in his thoughts on the modern improv scene--what it's been like to immerse himself in that after being completely detached for 30+ years. Also how the scene today compares to that of the late 1960s--what, if any, kind of support system there was for improv then as opposed to now. (I have my own opinions, but I'm just a DJ and I wasn't there--so I'm really curious as to what he thinks about it.) And thanks for the suggestions, Rooster, Lazaro, and others; I'll incorporate those into the interview. Has Henry reunited with Cecil at all? That's another encounter I'd like to hear (if it hasn't happened already). ← I'm interested in this angle, looking forward to the results. Quote Link to comment Share on other sites More sharing options...
Lazaro Vega Posted October 25, 2005 Report Share Posted October 25, 2005 (edited) The idea that Grimes would appear with Jack Mac implies Jackie Mac's own band takes a back seat. I remember Nessa saying when they wanted Art Blakey as a single or guest with another orchestra for the Chicago Jazz Festival the Jazz Institute still had to pay the full fee for the Jazz Messengers. If Jackie were more a freelancer the idea of Grimes playing with him would seem tenable. So the band comes first. So it would seem more likely, with William Parker's Feel Trio association with Taylor and Parker's advocacy of Grimes, that a re-union with Taylor could happen (a two bass band). I bet Lucille Rollins fielded all kinds of jazz festival ideas for Sonny Rollins over the years, but, again, how often did he appear in special circumstances and how often with his own group of people? The Hill Auditorium concert program read Sonny Rollins is playing around 25 times a year. Maybe one of those could be a trio with Grimes and Al Foster (?, who? DeJohnette?). Rollins had Bobby Broom and Clifton Anderson each playing two choruses on ballads at Hill Auditorium. That took a while. Does anyone know the last time he played in the trio setting? You have to know someone's asked, "I've transcribed Oliver Nelson's music for "Alfie," and wondered if our band could have the honor of accompaning you playing that again?" The place for this kind of programming --The Jackie McLean/Andrew Hill Band with Henry Grimes; Grimes and Sonny; Grimes and Parker with Taylor and Tony Oxley, all on the same festival over the course of a weekend -- is (was) the Chicago Jazz Festival. Only better than what I just described. They'd manage to get 'Alfie' in, too, with a killer band of pros. Edited October 25, 2005 by Lazaro Vega Quote Link to comment Share on other sites More sharing options...
clifford_thornton Posted October 25, 2005 Report Share Posted October 25, 2005 Bill Dixon records making his morning coffee, so you can bet he's documented those duos (and that's meant in all respect to Dixon - God love a man who leaves the tape recorder on for all of it, releasable or no). Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted October 25, 2005 Report Share Posted October 25, 2005 sorry to hear that about his management - but he won't be the first musician whose manager had similar delusions - the untold story of jazz is of the careers of musicians whose bad business decisions (and those of their management) have turned potential success to middling acceptance - and some of those names have cropped up in this thread - Quote Link to comment Share on other sites More sharing options...
Soul Stream Posted October 25, 2005 Report Share Posted October 25, 2005 Funny how he went from MIA to having a crappy manager so quickly. Ahhh...the music business. Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted October 25, 2005 Report Share Posted October 25, 2005 (edited) yes - like Groucho said, he's worked his way up from nothing to a state of extreme poverty - Edited October 25, 2005 by AllenLowe Quote Link to comment Share on other sites More sharing options...
sheldonm Posted October 25, 2005 Report Share Posted October 25, 2005 (edited) Funny how he went from MIA to having a crappy manager so quickly. Ahhh...the music business. ← Please don't assume because one person (here) thinks his management is not good, that it is the gospel. I feel (know) Margaret is hitting the pavement for Henry every day in seach of more opportunities; he appears to feel she is doing a good job as well. m~ Edited October 26, 2005 by sheldonm Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted October 25, 2005 Report Share Posted October 25, 2005 Ms. Davis has done an amazing amount of good for Mr. Grimes. If there are negatives, so be it. In a couple of years we will know if the overall influence was negative but we should give her some "props". Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted October 25, 2005 Report Share Posted October 25, 2005 Where was this picture taken? Is there a story behind it? ← Looks like the back of Rudy's lot to me. ← If you have Google Earth loaded, enter 445 Route 9W, Englewood Cliffs, NJ and you will see RVG's studio. It is the wooded lot under the number given. As you can see, corp. sites are surrounding him. Thanks to Rudy for saving the trees. Quote Link to comment Share on other sites More sharing options...
paul secor Posted October 27, 2005 Report Share Posted October 27, 2005 This is probably a bit off the wall - definitely not important - but I saw/heard Henry Grimes play live in the '60s, and I remember that he had a decal or painting on the body of his bass. I'd be curious to know what it was and why it was there. Quote Link to comment Share on other sites More sharing options...
Michael Fitzgerald Posted October 27, 2005 Report Share Posted October 27, 2005 The fact that HG has been asked this specific question (while looking at the photos from the Tauhid session) and could not answer it at all is frustrating and disappointing. Maybe things have changed, but I do not have much hope. Mike Quote Link to comment Share on other sites More sharing options...
BERIGAN Posted November 4, 2005 Report Share Posted November 4, 2005 Clem, I've heard the same stories, albeit from much-more-removed sources, I'm sure. The topic of drugs and the late-1960s improv scene is a volatile one, you're right; I doubt I'll ask Henry about it during the live, on-air interview, but I might bring it up during the solitary Night Lights interview. It seems apparent from a number of articles that HG went through some difficult psychological times in the 1970s, and out of respect for him, that's not really a subject I want to explore. (Maybe more for a biographer who's already established a good relationship with him.) In a more general sense, though, it would be interesting to hear HG's reflections on the economic, cultural, and otherwise stresses of the circa-1967 improv world. Ghost of (trying to find you) Opel ← Man, I haven't seen an Opel in years. ← Quote Link to comment Share on other sites More sharing options...
BERIGAN Posted November 4, 2005 Report Share Posted November 4, 2005 (edited) sorry ghost, if I... Edited November 4, 2005 by BERIGAN Quote Link to comment Share on other sites More sharing options...
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