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Burton Greene


jostber

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I met Stocker in Amsterdam in 1988 - nice guy, helluva saxophone player.

As for the "learned to play" thing, I would look at the source - people evolve, technically and stylistically; Griffin was not a guy who would've understood Shepp, whereas I believe Stocker was telling me that early on Greene was more instinctual than learned as a player.

Edited by AllenLowe
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Griffin was not a guy who would've understood Shepp

I'm gonna have to cautiously but strongly disagree with this... I think Griffin probably understood where Shepp was coming from very well...but given his superior level of virtuosity and Shepp's relatively limited "conventional technical facility" in the '60s (and I say this as somebody who is a big fan of that work), I think Griff's response to earlier Shepp would likely be filed under "I really dig what you're trying to do..."

But in terms of the emotional thrust of Shepp, and the vocalized/hollering/screaming tenor techniques, yeah I think Griff got it just fine. He was no stranger to such things himself, so whatever "problems" he might have had w/Shepp were just technical, nothing more. And from that POV, he was correct. Shepp did not have anywhere nearly as thorough a command of changes & rudiments then as he would develop later on. It's a credit to the strength of his voice, vision, and character that he was able to take what he had and use it as powerfully as he did.

And count me among those who prefer that earlier work. There are some exceptions, though...

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well, I don't think Griffin could really accept the concept of free improvisation - like a lot of musicians of that generation he was grasping at straws to see where Shepp knew his history or his chords - so he could find a common ground which, in reality, did not exist.

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I'm sure he had difficulty with the "concept". But not with the "techniques".

I mean, if you play the tenor long enough and/or well enough in a certain "environment", you figure out how to make the horn do certain things, as well as what those things can get across message-wise. Griffin knew those things quite well, as did/does Shepp.

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A personal note. When I first traveled to New York in 1965 one of the friendliest musicians I met was Burton Greene.

He gave me the invaluable advice to stay away from various hard substances that were easily available on the scene.

Of course I had to try some and did. One experience was so unsettling that I decided to stick to Burton's recommendation and lived happily ever after!

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A personal note. When I first traveled to New York in 1965 one of the friendliest musicians I met was Burton Greene.

He gave me the invaluable advice to stay away from various hard substances that were easily available on the scene.

Of course I had to try some and did. One experience was so unsettling that I decided to stick to Burton's recommendation and lived happily ever after!

Ted Curson: "LSD Takes a Holiday."

Edited by clifford_thornton
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Recently picked up

Burton Greene Quartet feat. Paul Stocker-------Valencia Chocolate-------(Cat)

Pretty good record. I can't find much about it but it's a decent freeish/hardbop date. Stocker plays very well .Anyone else come across it.

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I saw Regev, Lane, and Foni together backing Avram Fefer about a 6 or 7 months ago; a pretty good ensemble. Lane is always so intense. Regev is a remarkable trombonist, fluid and witty. She is married to Foni. I can see Greene fitting into that ensemble.

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Burton Green was also on some ESP things right ? He really was something and had a lot of eastern european roots which I like. And the highlight here was when he performed with first rate austrian avantgarde musicians like the late great Fritz Novotny (Reform Art Unit) and Fritz showed him his then latest composition "Pannonian Flower" which Mr. Green liked and performed with them, and later at Green´s suggestion they concluded the concert with some Monk tunes, I remember "Crepuscule with Nellie" was on the set !!!!! Green loved Monk. 

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