davetjazz

http://www.charlierose.com/view/interview/5259#comment_52821 Joe Henderson talks with Charlie Rose.

Yeah, I wouldn't put much behind the story. Though I can just put on Line Up or East 32nd Street, and hear Miles Smiles era Herbie. When I dig Plugged Nickel Wayne Shorter I hear Warne Marsh. (Actually I heard Wayne Shorter before Marsh... all the Blue Note stuff, ESP, etc, Almost fell out of my chair when I heard Warne's solo from Too Close For Comfort. Like a ton of bricks) Though Herbie was playing with that kind of attack in realtime and those former tracks were time stretched. (In truth they were never intended to be released anyways, Tristano was just practicing). If only my practicing sounded like that. What would be most beneficial would be to seek out which Tristano/Marsh/Konitz albums were released at the time Herbie/Wayne or whoever...might have heard them... (BTW Chuck Nessa, that All Music album is heavy, it's generally the first Warne Album I recommend if somebody's interested, along with Star Highs and Music for Prancing)

Yeah that prof X analogy really hits it. I think the thing that's often forgotten about Lennie is that he did this BLIND. There was no music for his theory/teaching, he totally assimilated his Bird, Bud Powell, Roy Eldridge, Tatum and etc influences all through the ears, so naturally taught it through the ears. No transcription books. Sure he doesn't swing like *whoever you consider swinging*, but surely his concept can be added to any sort of approach you take to the music. Just a brilliant mind. There was a time where Herbie met Lennie at a club, Richard Tabnik said he almost stumbled over himself to meet Lennie. I don't know the specifics, but I can def see how that Tristano school of playing could be a hidden reservoir of ideas on the opposite side of Free Jazz.

The first time I watched this documentary and heard his solo over Background Music, it completely turned my head around. Avid Mosca fan now.