Soul Stream

No, it's not a "tome," as someone used to say, but I think eminently sound in its human and (with a few minor cavils) musical judgments and simpatico in tone. Chet isn't given a pass, nor is anyone else, but neither is Chet or anyone judged by standards that a saint might not be able to meet. De Valk knows the scene, its people, and their behavoir (note, for example, the account of the abortive Getz-Baker tour and the distinction that is drawn between their personalities), and he also doesn't presume to know more than he does or what is simply unknowable. Yeah, it's definatley got a nice slant to it. I've enjoyed it quite a bit in that it informed me about his later years and work, which is taken seriously for a change. Also, the account of his last days is very revealing and puts aside any sort of romantic murder plot. Seems like there's a different Chet for every writer or filmaker. I would really like to see a biography done by a musician who is able to illustrate Baker's unique musical genius in black and white, with examples and anylisis.

I enjoyed the de Valk book, but thought it was a little light. Not very in depth, but worth reading.

Dexter Gordon....Our Man In Paris w/Bud Powell....love it. Dexter's so killin' it Bud Powell...from Vol. 1. Miles Davis....Musings of Miles

Wow. Saw Larry King last night and the doc. producer who had seen the footage urged that it be destroyed since it was so horrific. Although I'm not surprised his wife Terry would want it shown in this sense. Steve would not Stingrays demonized, if the footage demystifies the event...then perhaps it's what he would want and she would know best. A pretty amazing family in my book.

My favorite part is that Gonsalves is upright throughout and has his tenor strategically placed so it kind of looks like he's playing if you weren't paying attention. How he doesn't fall over that stone cold asleep I'll never know. What a badass. Sleeping AND getting paid.

Thanks Soul Stream So it isn't, as I thought it might be, simply a matter of using different stops and using chords more (and after all, Don Patterson and Jimmy Smith both used chords a lot on ballads). What you seem to be saying is that these guys had a different concept of how you played the organ. Not, I suspect, a different concept of how you played jazz, because they were all of the same generation as the beboppers. And if you listen to Wild Bill playing "Jive samba", you know he was capable of doing the Hard Bop thing when he wanted to. Am I following you right? MG I don't know if I meant it to come across as that simplistic....'cause it's not so clean cut. There are many things that held over from the Wild Bill Davis-era. BALLADS are a GREAT example. Jimmy Smith used the same style early on as some of his early influences. The ballad style lived on through the Pattersons, Lonnie Smiths, ect....and is healthy today with guys like Joey Defrancesco. Jimmy Smith didn't invent jazz organ. I'd say Wild Bill Davis did. Style has changed, but the left hand bass, pedal use, block chords...the INTENSITY....that was all started with Wild Bill to my knowledge. (o.k...we can go back futher to Fats Waller, ect..but that's really predating the Smith era)

Yeah, Lynn and Vicki are my fav of James' lady friends.

It's kind of like the difference between what was happening on alto before Charlie Parker. And it's not to say that Johnny Hodges isn't a musical giant in his own right. It's just that after Jimmy Smith hit, the older guys either had to adapt to that style (like Johnny Hammond Smith did quite successfully)...or they sounded "dated." This happens all the time in music. Some adapt, some don't. What's great about the pre-Jimmy Smith guys is that they treated the organ like a big band. It is a huge sound, and speaking from my viewpoint, one that takes SO much time to learn, that it's often abandon almost completely by most every organist after Jimmy. It's difficult as hell, and it's modern-day usefullness is limited. That said, guys like Milt Buckner, ect. should be more widely known as their work is incredibley difficult. Without guys like Wild Bill Davis there would be no Jimmy Smith.

Except the part where the producer chose not to use a real Hammond B3. Other than that, it's great.

Get it.

I guess he jacked with the wrong stingray.

Them maybe Muddy could call Elmore James and Elmore could call whoever he got it from....

yeah, it's great. get it.

Lots of code words there, maybe, but the bottom line is this - it wouldn't have mattered if he had joined them in their "outside stuff". It still would've been what jazz tenor was supposed to be all about, just because it was Dewey, and Dewey was what jazz tenor is all about, supposedly or otherwise. We were blessed by his presence on this planet, and we will be lessened by his absence. No code words here, as if "outside sucks." It was just my perception that Dewey brought the proceedings to a grinding halt and changed course drastically. Read into what you will. Whatever happened that night, I dug it. Dewey lives.

Wow. Not much to add to that. Except I did get a chance to see Dewey once (about 2 years ago) with a avant pickup band. Dewey walked in with his bags 'cause he came straight from the airport (I'm sure he was beat, but didn't show it in the least). The band opened with a couple of originals and played the most outside stuff that wasn't connecting to the people. Dewey came out and played the slowest tempo Rhythm Changes and MADE those guys groove...!!!! I'll never forget Dewey telling the bass player to WALK! He was nice about it, but made his point. Dewey was there to play for the people. For anyone in that band thinking they were just going to self-indulgently play "out" all night was sorely disappointed. Dewey reminded everyone what jazz tenor was supposed to be all about. Great night. Sad to hear he's gone. Glad I got to see him play.

I'd really like to see unissued sessions at this point. The unissued Jimmy Smith, ect.... 'Cause pretty much everything else has been issued either here or in Japan, and if you dig it...you've got it.

Boy, I think we're really close to the bottom of the barrell at BN.

...just 'cause it's mindblowing.

....must have been a guitar player. They're always the guys telling me they find Hammond B3s for $200.

If it's got a cassette it's not an A-100.

Anything Hammond with a cassette player in it isn't worth $2,000. Maybe $20...

Big John Patton "That Certain Feeling" Larry Young "Heaven And Earth"

I forgot to mention... I've always thought that Chet was a bad mf, and always thought it was clear in terms of his musical legacy. What exactly did you mean re "misjudged"?... I guess when I say "misjudged".... I mean his music is usually qualified when people speak of it. Like, he's a Miles rip-off. He was horrible later in life. He was horrible early in life. His singing was horrible. He couldn't navigate difficult music. I mean, to me, for what he was doing stylistically...he had one of the most creative minds in jazz. Whether his playing was a total mess or his greatest work...he was trying to get something different out of the song and his instrument. He was pretty daring. When you listen, you just don't know what his next note is going to be. Listen his version of "Over The Rainbow" on Chet Is Back.

Care to elaborate on a concert you remember in particular (good or bad, or both). You'll be sharing with someone who never got the chance to see him....

I just got done listening to "Chet Is Back" and, like many times before...am reminded just how engaging he is. Over the years, his music is something I return to often. Junkie-dom and Milesian-white-hope shit aside...I can't help but think that Chet Baker is a bad mf and had a musical element that is missing in even the greatest of the great.