sgcim

Great stuff, thanks for posting! I think you meant a Dm11 in the last measure of the 6th line; you have a Bm11.

Just kidding, JETman, but I've heard a lot worse than that from some of their DJs...

But Larry, we all know from Jetman's proclamation that PS, and all those genius Ivy league student volunteers from Columbia never make mistakes, and obviously know everything about jazz. After all, it's a "college radio station". It had to be a janitor sitting in for one of the "delicate geniuses", while they were busy studying for their medical school finals...

That LP that featured the live version of "All About Rosie", "A Modern Jazz Concert", featured an attempt at integrating improvisation with extended compositions by the likes of Harold Shapero("On Green Mountain"), Russell, Giuffre, and Schuller, with improvisations by Evans, Farmer and other adventurous East Coast players back in '58. Giuffre's "Lyric Pieces for Clarinet and String Orchestra", often blurs the line between composition and improvisation. Most of the soloists on the Teddy Charles LP "Russia Goes Jazz" just play in their usual style on jazz adaptations of Russian classical pieces, but Jimmy Giuffre seems to do a vulcan mind meld with Stravinsky on "Firebird" and plays a solo that Igor himself would have grooved to...

A little known fact was that DM was featured improvising on the soundtrack to Ridley Scott's "Blade Runner". I was surprised at how retro- DM's playing was on "It's Morrisey...Man!" I expected more of a Tubby thing.

What I loved about IF was their ability to groove in time signatures other than 4/4. I bought the "Fall-Out" CD and loved it! TS was the best straight-ahead jazz guitarist in the UK back then. It was produced by his admirer Scott Walker(!) whose band TS used to direct back then. I know the McDuff LP, but haven't found it yet... I sent to the UK for TS' latest CD, "Tenderly" and was surprised to find him playing like Mullin and Wes, only with his thumb. It's very much like the Wes trio with Melvin Rhyne. I know TS had a bad accident many years ago; I hope it didn't affect his incredible plectrum technique...

Here's Dick, Terry, Dave Quincy and the boys back in 1970. Dick is doing his Rahsaan impersonation, and TS sounds like he just discovered the wah-wah.; - ) The title refers to Jack McDuff, who was in the recording studio when the LP was being recorded. I first discovered the band on their first US tour at the Fillmore East with Black Sabbath(!). I saw them next at The Gaslight, and Terry Smith just killed that night. Something's weird with this link. I'll try it again if it's wrong.

I heard that Reese Markewich LP almost 40 years ago. I never thought that would make it to CD. Markewich was a psychiatrist who played piano and flute. He wrote a few interesting books on jazz harmony which were a big influence on me ("Inside Outside"). The Morrissey things look interesting. I'd pick up any Morrissey that featured his buddy, Terry Smith, in their pre-IF days, if any exist...

Eddie Bert played up to the end, and he passed at 90. He did a lot of union work (record dates) that gave him a nice pension, so it wasn't for the money. It's what he DID... He had gotten so weak, they replaced him on one steady gig I used to do with him, because the sound was too weak. One bass player with a good pension from his day gig, kept playing gigs in his late 80s, even though he had heart failure, arthritis and CTS. His wife would carry his equipment when no one could see him, and then he'd make like he carried it when he was in sight. He got so frustrated with his hands, he got surgery for the CTS without telling his heart doctor. He got a stroke the next day that paralyzed his entire right side.

What is the source of this quote? I'm skeptical. It was from a Down Beast magazine interview. I don't know the date, but I gave up on them back in the 70s, so it might have been in the 70s. I heard they used to be a pretty good jazz magazine...

I liked Stan's quote when he got sick of playing the modern stuff he was playing in the 70s," I'm through playing that "Chick Corea and his space monkeys" music..."

Wow, thanks! That may be the only video of Frank Strozier available anywhere. JSngry-

I loved that movie!!! Does anyone know who the guitar player was in the club scenes? TIA

yeah, it's on the "Shining Hour" CD with Hod and Red Mitchell. I used to catch them at Gregory's whenever I had a gig in Manhattan, although Frank Luther was the regular bass player. Now I just stand outside of the Bar Next Door, and puke on people as they walk out...

As I was looking at JALC's ad in the Times Sunday, which featured a very 'trendy-looking" photo of WM and very little else, it occurred to me that JALC is really not even about jazz in the first place; it seems to be about marketing a certain type of image for well-heeled NYers. The Sondheim concert is quite consistent with this. I love the Cleo Laine Sings Sondheim LP, and have found the sheet music for the songs of his I like, but I just don't find it compelling to do instrumental versions of them. Joe Puma did "Lovely", so it can work, but they seem to be hard to divorce from the lyrics... BTW Chris, I just saw the Bill Evans feature on "Jazz Set" on youtube the other day. Was that a NY TV Show? When and what channel was it on? Great show!

I loved his earlier shit- the first two or three LPs + Nilsson Sings Newman, and the standards LP with great Gordon Jenkins arr. After that, it was all downhill... i thought his best stuff was with Geo. Tipton as his arranger/conductor. If you saw the doc., Tipton didn't even appear in it, and was only mentioned once. I researched that, and it turned out HN tried to stiff him on some of the writing credits for "The Point". Tipton was also reportedly upset about his escalating drug and alcohol use. HN had intense stagefright; never toured and only did one concert (in the UK), though he did appear on TV a few times. "Arial Ballet" was my fave.

That's the kind of chick you try not to run into until the sun is shining... I'm lucky i made it out of that one alive- the pianist wasn't as lucky; I read his obit. in DB. The last time I saw her, she was on the hood of my car, trying to kick my windshield in.

I guess that's better than the story this chick I knew told of Miles trying to bf her boyfriend(a pianist) at the time, at a party. i don't know how reliable her stories were; she claimed to be there when Lee Morgan was shot, had screwed Carlos Santana and Duane Allman, etc...

Oh, yeah! Thanks for the reminder. i'm gonna look for ITHOTN. Jon Faddis had a nice feature in the opening scenes of "The Gauntlet". Live scenes in clubs don't count-eg. "Screaming Mimi", "Play Misty For Me", etc... There's something about integrating improvisation, the score, and the drama on the screen that really gets me off. The closest I've come to it is blowing during some scene in a musical. One of the most exciting gigs I ever did was jamming on some completely improvised funk things at an Iona State college basketball game at the Nassau Coliseum with some black dudes I never met before or since. I don't think you're supposed to be playing while they're dribbling the ball- especially loud with electric instruments, but nobody stopped us!

I just saw this last night, and Quincy did the music for it (I think he did all 3 movies in the series), so naturally, there was a lot of blowing in it (maybe so Q. could have a little more "face time' with Peggy Lipton? ). One scene that stood out was the one where Sid goes into the apt of the "heart of gold' hooker. There is an incredible tenor sax solo that followed the cheesey blues guitar and organ solo that made the whole movie for me. I looked it up in the Meeker book online, and it only IDs the omni-present (and great) trumpet player Chuck Findley and Emil Richards on percussion. Anyone have any idea who it was? It occurred to me that while there's a lot of examples of great writing in film scores, it's relatively rare that you get to hear a musician play a great solo in a movie. Another example is Phil Woods' solo in "Lilith", and Jim Hall's short solo in "Odds Against Tomorrow". Anybody got anymo'?

I generally agree that you can't tell what a musician is like solely by their playing, but that musician I mentioned before literally could not listen to many musicians, because he was convinced they were absolute wretches by the way they played jazz. The scary part was that he turned out to be right about some of the musicians (the ones I can remember) he "judged"... Some people have a very different way of seeing (or in this case, hearing) the world.

I seem to remember a story about Stravinsky singling RD out for praise when he conducted an orchestra with RD in it. Some musicians have complained about RD overplaying on a lot of sessions, but I thought he sounded fine on his first NY gig, the Kenny Burrell LP, "Men At Work" with Roy Haynes, live at the VV. RD was notably the only cat who didn't get into the race thing in "Notes & Tones". I also dug his "Epistrohy/Now's the Time" LP with Hannibal and Clifford Jordan. My sister had his "Philosophy of the Spiritual" LP with Sam Brown, and that morbid sound of the title cut featuring his arco bass used to make me think the world was coming to an end...

I played a couple of gigs with this sax player who said he could tell what type of a person someone is solely by their playing. I mentioned Phil Woods to him, and he said,"Horrible person". I mentioned Getz to him, and he said, "Even worse!"

In the Roland Kirk bio Kruth lists it as Sonny Red Kyner. He tells the story of RRK sitting in with SRK and taking it over to the extent that Sonny got so mad, he packed up his alto and went home in the middle of the gig. RRK finished Sonny Red's gig!

KCR is a special case. Other college radio stations don't "cater to commercialism", yet play little jazz (WFUV, Hofstra, NCC, Stonybrook, etc...). According to PS, WKCR has something in its charter that says it has to play so much jazz, so much classical music, etc... Comprende?