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sgcim
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Posts posted by sgcim
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There are many interesting facts about JS that I've unearthed over the years, but they would mainly interest only guitarists.
However, he received the greatest endorsement of all when he played at Birdland in the 50s, and Bird himself would perch himself in the front to listen to him play.
Which is not to say that JS played in Bird's style- just that Bird recognized the beauty of Smith's genius on the guitar.
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At 8:06 am.
First Johnny Smith and now Sam Most. RIP Mr. Most...
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We've just lost the greatest master of the plectrum guitar that ever lived.
Even today, nobody has even come close to the artistry JS displayed with a pick on those records he made on Roost in the 50s.
I bought every one of them, and still bought the Mosaic set.
You could play better jazz than him, you could swing more than him, but you CANNOT play the guitar with a pick better than him.
Rest In Peace, Johnny...
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I remember hearing that Toots Thielmans used to like to practice harmonica in his bathroom because he liked the sound.
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Okay, I'm home now. Here's the Martin Williams article that describes the rehearsals for the concert - Rehearsal Diary. Click on page 119 and scroll down. This should clear up some things.
The Jazz Abstractions album was a studio date from several years earlier, but Dolphy was involved in the third stream movement. He played with Orchestra USA, and on several Gunther Schuller concerts.
Thanks, Jeff. I read that book many years ago, and forgot about that part.
There's a very embarassing part for Jim Hall on the George Russell piece where he can't cut it.
He pretty much gives up, and says, "Can't you get Barry?", referring to the great Barry Galbraith, who was such a great reader that Russell used to use him on every recording he made in the 50s.
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Carnegie Hall, NYC, April 18, 1963...what was that event, exactly, and why were all those people there for that one jam? Was this a Schuller concert with Dolphy's band given a feature spot, and then they had a jam at the end of the night?
I haven't replied to this yet because I'm away from my home and books, but yes, that's more or less the case, if I remember correctly. Schuller presented several "third stream" pieces, some featuring Dolphy, then the three Dolphy quartet tunes and the jam session. Someone (Martin Williams?) wrote an article about the final rehearsal for the concert. The classical musicians were apprently amazed at how casually the jam session was organized.
Was this the same concert that they recorded 'Variations on a Theme By John Lewis (Django)?
That was a mind-blowing performance featuring Eric Dolphy on flute, Eddie Costa on Vibes, and Jim Hall with a string quartet.
I have that on cassette tape, so I don't have any specifics. I think that was from a great LP called "Jazz Abstractions", but I don't know if it had anything to do with the Donna Lee session...I'm so confused!
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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...
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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?
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I can certainly relate, and I'm not a musician. I often drive 2.5 hrs to lose time and money. The life of a salesman.
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...
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Thanks for the heads up, Pepsi!
I missed the first 2 hours, but I'm digging Mal now, got the cassette recorder taping.
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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.
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Always liked his recordings with Grant Green. Musicians like that can't be replaced. RIP, Mr. Tucker...
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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.
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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.
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.
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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.
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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.
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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
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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.
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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.
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.
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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...
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Piano Concerto -- Steuermann/Hermann Scherchen (Arkadia)
I heard that story about the recording of the Serenade, but in my version the original guitarist was replaced by Chet Atkins.
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!
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Has anyone heard the BE "Book' LP (i forgot which one) with Frank Strozier on it?
Does FS get a lot of blowing time on it?
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.
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Piano Concerto -- Steuermann/Hermann Scherchen (Arkadia)
I heard that story about the recording of the Serenade, but in my version the original guitarist was replaced by Chet Atkins.
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.
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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...
The musician's blues...
in Musician's Forum
Posted
Good post. Years ago, I was playing with a very talented jazz musician, who was too broke to afford a car, so i had to pick him up at train stations, and we'd drive to our gigs together. I also played on a jazz LP with him.
Somehow, he got hooked up with a journalist, who became his agent, and the next thing you know, he was releasing albums on a big label, appearing at all the big festivals around the world, and winning jazz polls on his instrument.