sgcim

Thanks, guys. On the video, Knepper is listed as playing baritone. I'm not sure, but the way he's getting around on that thing it could have been valves. While the other guys sound more "modern", I'll take PW, NT and JK any day. JH sounds like he's scuffling...

I saw this on youtube and almost had a heart attack when i heard the first solo. Eric Dolphy playing like a bop master...? Then i checked the personnel and realized it was Phil Woods, and Dolphy plays his usual outside stuff on a later solo. This was from a set called "Vintage Dolphy", but does anyone know who was the leader on this date?

I know where you're coming from. After my late father got married in 1947 after the war, he quit music and became a salesman for the rest of his life. Never had a salary, lived on commission. If he didn't like the job, he just quit, and moved on to the next one. He must have worked for at least 50 different companies selling anything you can imagine...

Thanks for the heads up, Pepsi! I missed the first 2 hours, but I'm digging Mal now, got the cassette recorder taping.

What non-musicians don't understand is there just ain't a living in it anymore. Most jazz clubs in NYC aren't paying enough to justify commuting there, unless you can somehow afford an apt in Manhattan. With my equipment, I usually have to drive into Manhattan, the Bronx or Westchester, and the price for tolls, parking and gas comes to $50. One time I thought I found a parking spot on 1st Ave, but after the gig, I couldn't find my car. Turned out it had been towed, and I had to take an expensive taxi ride to the West Side so I could pay the $200 fee to get a cop to escort me to my car. i remember there was a girl crying her eyes out because she didn't have the bread to get her car out and had to phone her parents in NJ to help her. I lost about $100 on that gig. I've got a steady gig that I've been doing for the last 20 years or so in Westchester coming up this summer, and if we didn't carpool, we wouldn't make shit.

Always liked his recordings with Grant Green. Musicians like that can't be replaced. RIP, Mr. Tucker...

I emailed JK when he posted that on another board a few years ago. He went to the same college I went to, and studied with the same composition teacher, John Lessard. He wound up studying privately with JL (one of Nadia Boulanger's favorite students) for seven years. He sent me some clips of him playing guitar in an organ trio. Sounded good, nice guy.

Not exactly a startling revelation. Zappa always said pot made him sleepy, which is why he didn't smoke much of it. The way HK wrote about it in the book made it seem like it was a "startling revelation". FZ always cultivated the image of being anti-drug. That's why it seemed strange to me that he hired BH(1), who was a life-long junkie. Getting back to FZ as a person, I used to work with a drummer who went on the road with FZ as a percussionist, and he said FZ was a cheap prick, who tried to screw the band whenever he could.

I recently found a copy of the score to "All About Rosie", which had parts for Bassoon and French Horn, but no part for vibes. On Youtube, there's a nice recording of it, but it features Teddy Charles on vibes. Does the Modern Jazz Concert LP have TC on it? Gerry Mulligan's Concert Jazz Band also recorded a big band version of it.

I just took a glance at Howard Kaylan's new book, "Shell Shocked", a memoir of his days with the Turtles, Zappa and Flo & Eddie. He makes the startling revelation that FZ did smoke some pot- in between orgies. There was a little bit about Judee Sill and her husband, Bob Harris, a great jazz pianist who played with the MOI in 1971.

I enjoyed his neo-classical music. I was listening to his String Quartet years ago, and almost had a heart attack when I heard him use "Giant Steps" changes in one section! It was written in approx. 1950, so it pre-dated 'Trane by about nine years. RIP HS

I still have about 100 cassette tapes left, with some great stuff, but some of the older ones emit a high-pitched squeal as they go through the heads. I've even got a few reel-to-reel tapes left, but no reel to-reel player to play them. I liked cassette tapes for their editing capabilities. I used to tape just the melody to a tune, and edit out all the solos I didn't like.

Godard's cinematographer was Raoul Coutard. He was not involved with Mickey One. Cinematographer on that film was Ghislain Cloquet who often worked with Louis Malle (and Robert Bresson and others). Malle's companion Alexandra Stewart appeared in the film. You're right- the review I read mentioned Bresson, not Godard.

I taped Mickey One also and just saw it. The sound was better on my computer than it was on TV. Getz sounds great, and ES' score is fine, also. The film has been compared to Godard, Fellini, Kafka, and even interpreted as JFK assassination paranoia (Ruby, Lapland). It was shot by Godard's cinematographer, so it's so striking visually, that I remember most of its grotesque images. What it all means is wide open to interpretation...

Chet Atkins? Not in a million years. I don't think he could read music on that level. Schoenberg's 12-tone system was the model for Adrien Leverkuhn's "demonic creativity" given to him by the devil in Thomas Mann's "Doctor Faustus". I read the novel when I was studying composition in college, and was all excited to hear this new way of composing music. Then I listened to some 12-tone pieces, and that ended the fascination right there. AS was a great composer, but his 12-tone system leaves me completely cold. I was kidding. Well, I should hope so. Now, Johnny Cash, there was a real Schoenberg man!

That one is called Exultation! and Strozier solos on all 6 of the original tracks. The cd includes 2 shortened takes of tunes without his participation. Thanks, Chuck.

Chet Atkins? Not in a million years. I don't think he could read music on that level. Schoenberg's 12-tone system was the model for Adrien Leverkuhn's "demonic creativity" given to him by the devil in Thomas Mann's "Doctor Faustus". I read the novel when I was studying composition in college, and was all excited to hear this new way of composing music. Then I listened to some 12-tone pieces, and that ended the fascination right there. AS was a great composer, but his 12-tone system leaves me completely cold.

There's a wild story about Serenade (Op.24); the conductor of the original recording, DM, fired the classical guitarist, because he didn't know how to follow a conductor, so they hired the studio/jazz guitarist, Johnny Smith. Smith claims he came in and sight read it, and he plays on the original recording, which I managed to find on Everest. I'm not a fan of the twelve-tone stuff, but I liked his early shit, Verklave Nacht, etc...

My brother's dog is eleven, and has had IBD for two years, so when he's going though a bad period, his gas smells like some sort of metallic neurotoxin that they'd use to smoke out some terrorist who's holed up in an underground bunker.

Just reviewed favorably in today's New York Times Book Review

No doubt the place was home to a fair degree of racialist thinking, but OTOH I don't recall the JALC gigs for C Sharpe, Tommy Turrentine, Dave Burns, Walter Bishop Jr., et al. Also, though I may be mistaken here, a good many of the relatively unrecognized non-white beboppers by the time JALC came into being were no longer among the living or not in great shape or not living in the NYC area. In any case, if there were a non-white counterpart to, say, Triglia or Schildkraut, he probably wouldn't have gotten a gig there either. I don't think it's the same case with those guys as it is with AS. They were strictly boppers, whereas AS is on small group Swing LPs with the Red Norvo Sextet from the early 40s. One sax player I know used to hear him on the radio when AS was sixteen years old. Phil Schaap had AS on KCR a few years back, discussing the genesis of the line on "Indiana", which evolved into "Donna Lee". It's fascinating how it evolved from a line that Tiny Kahn wrote (that was recorded on a Terry Gibbs Sextet LP) when AS, TK and TG used to play together as kids in the Bronx, to the bop line of "Donna Lee". I transcribed the line from the TG LP, and it was very similar to Donna Lee, showing the "aural" tradition of jazz in NYC back then. My comment about JALC is a moot point. When things like the Jazz Interactions Orch., The Jazz Repertory Band, and finally The Carnegie Hall Jazz Band died, it was all over for that type of thing in NY. The Crouch/Marsalis/JALC syndicate calls the tunes in NYC, and to quote Burt Lancaster in The Sweet Smell of Success: "Here's your head- what's your hurry..."

it's hard to believe that BAI once had people like CA, Don Schlitten, Marian McPartland, Ira Gitler, Gunther Schuller and Dan Morgenstern doing jazz programming, but I read the Roland Kirk bio recently, and it said that RRK used to call up Morgenstern regularly, and have interesting discussions about jazz history with him. I was too young to hear any of that. The reference to "Lenny" Lopate and the tape recorder reminded me how successfully he used "'Round Midnight" to advance his radio career... My best memories of BAI are when they had the Free Music Store concerts in the church. My friends and I saw Jim Hall, Ron Carter and Benny Aronov do a fine concert there. Then we saw Chuck Wayne and Joe Puma play a concert there, and I got to sit in with Chuck Wayne- on the air. Joe Puma was nice enough to say, "What club are you playing at?", after I finished playing, although I was still in high school, and had a long way to go. I haven't heard much to listen to on BAI in ages...

Check out his early stuff. I can't listen to "Nilsson Schmilsson" or any of his later stuff, other than the standards LP.

Yeah, I've got the Bix, Duke & Fats LP- great stuff. he was also on the John Lewis LP "The Golden Striker". He's always got some great stories about the heavyweights he played with. On the Lewis sessions (and concerts?), he'd sit around and practice Bach on the flute, while all the black dudes would be getting high. So John Lewis comes up to him and says, "Wow, I've never seen anything like that- you're actually practicing classical music. Maybe the other guys should be doing something like that...". There was a time in the 40s when he said he was being promoted as the "great white hope" against Bird. So Bird sees him on the street in NYC one day, and comes up to him and says, "I know who you are... Don't go thinkin' you're so special!" I think he played on a Sarah Vaughn record with Bird and Diz (not sure). On the many gigs I played with him, every solo was a subtle work of art- you literally cannot hear anyone play like that anymore. He gave me a CD copty of the LP he made with Jimmy Raney and Hall Overton, a tape of a trio gig he did with Joe Puma, and a tape of a concert he did with Janice Friedman. All great stuff. You'd think NYC would celebrate a great national treasure like him while he's still alive, but no- all we get is Wynton and work songs...

Yeah, Aaron is still going. I've done numerous gigs with him in Westchester. He told me the story about when HM ditched him. He woke up one morning and she and the piano were gone! He's a walking history of jazz, beginning his recording career with the Red Norvo Sextet in the early 1940s, then was a member of the Terry Gibbs Quintet, and then the Earl Hines Quintet Unlike other BG clones, AS assimilated bebop and beyond, and even studied with Hall Overton. Plays tenor sax just as great as he plays the clarinet. Still a creative improviser into his 90s!