sgcim

Duncan Henning wrote a good book on George Russell, whose career followed a similar trajectory as Giuffre's. Both wound up teaching in the New England Conservatory of Music, so he'd have enough contacts involved with that stage of Giuffre's musical career. In addition, Giuffre married George Russell's ex-wife, Juanita Odejar who Henning interviewed for the Russell book. Giuffre was married for 42 years, so I don't see how he could have been married four times as someone mentioned. The only work would be the Texas and West Coast part of his career, but there are many West Coast musicians still around.

Unfortunately, that was the case back then; it was the record companies' ideas that dictated who should play with whom. Someone at Verve (maybe Creed Taylor) figured, 'hey they're both hot properties, maybe they'll make some money for us'. If they were really on the ball, they'd get Deodato to do the job, and do it right, like TTK intimated . Look what he did with Stanley Turrentine. Then look what Astrud and Stanley did together; both collaborations pure bliss. What did Astrud have to do with Gil Evans' type of writing? When Frankie Dunlop heard her name, all he could say was, "Ah, the golden showers!" Did Gil have anything to do with that type of stuff? Wait, don't answer that question... I read the Stein bio, and it's buried deep within whatever part of the brain of where that stuff goes, and probably informs what I posted without me even being aware of it. I've read the bios of all the greats; I'm even going to be reading the bio of Richard Twardzic by the end of the month, and that's not an easy goal to accomplish!

Yeah, you'd think a genius like Evans would've known that low brass playing in morbid clusters would not complement Astrud's voice. The only song I like is "Look to the Rainow". Just piano bass drums and sax. Tomorrow is a drag, man.

No, too good for Jandek. Tomorrow is a drag, man.

Yeah, tomorrow is a drag, no doubt about it.

Pretty sad what Getz did to her: https://www.independent.co.uk/arts-entertainment/music/features/astrud-gilberto-girl-from-ipanema-b2006879.html She transformed everything she did into her own thing. I never got tired of listening to her, and had to hear her version of a song before I heard anyone else's. Rest in Peace, Astrud...

Turned out to be Barney Kessel backing Leslie Uggams in a great version of "Don't Blame Me". As usual David Meeker's info was impeccable. RIP.

That is the only possible answer I could imagine!

BH was not a jazz guy. I think he needed help with writing the jazz parts in that and other films that required real jazz. I think it was that young British guy that wrote an excellent book on film music, who helped him with Taxi Driver.

Yup, that's Al! He also told us about the time Bill Evans 'borrowed' his best overcoat, and Bill never returned it to him. However, AB told us that once BE came into some money, he had a list of all the people he 'borrowed' things from, and he reimbursed them for it. When he reached AB, AB refused to take el moola. These were 'cool' stories for young jazzers like me and my friend (who's now a well-known bari player), and we felt like we were in with the in crowd...😎

I once went over the house after a gig, of that drummer on the EC album, and on his living room wall was the cover of the EC Trio Live at the 1957 Newport Jazz Festival album. He then offered us some pot, and told us how a woman came on to him at a dept. store earlier that day. "You still got it". his friend told him. "You better believe it", he replied...

The Wallington Workshop album is just a re-issue of the Costa Trio at the 1957 Newport Jazz festival.

According to Wikipedia: Though Bill Lee scored his son's first four movies, they had a falling out shortly after the arrest on drug charges. By 1994, the elder Lee said they had not spoken in two years.[8] Bill Lee said their problems started with his son's intolerance of his second marriage. The family feud began in 1976, when Spike Lee's mother Jacquelyn died of cancer and Susan Kaplan moved in with Bill.[1] Spike has been quoted as saying, "my mother wasn't even cold in her grave."[8] Bad feelings intensified with Jungle Fever, Spike Lee's film on interracial romantic relationships, as Kaplan was white.

Very sad to hear. Jazz in the Movies has been my go to reference music book for decades, in fact I have to go to it right now to find out who played guitar in a Raksin film soundtrack I just heard. RIP, Mr. Meeker, your immortality is guaranteed.

Sad to hear. He was all over the place in the 60s, playing with jazz groups, and folk groups; he played on 191 records! He played on the first acoustic version of "The Sound of Silence by S&G I liked the songs he wrote for his son, but the strings sounded out of tune. I wonder why Spike fired his father for his soundtracks? Frank Strozier featured his songs on Late Night and March of the Siamese Children, and spoke very highly of him as a composer. I went to a jazz club once, and flipped out when I found the rhythm section for 'Long Night" was playing there; Chris Anderson, Bill, and Baby Sweets. Lee's wife was at the door, greeting people and taking the door in. When I told her that was my fave album, she started laughing, and told me to go up to the guys and tell them that. We got into a conversation about the record, and I told her I liked "The Man That Got Away" the most, and she seemed puzzled and asked me , "What about "How Little We Know"?" That was one of those moments where I felt like I had gotten it all wrong, and I listened to HLWK closer, and I heard what she meant. After that, I played HLWK on every gig that I could call it on, wrote a big band arr. of it, composed a contrafact on it, and transcribed all the solos on it. Since they played it in F, I assumed the bass played a low F on the E string as the pedal bass, but something always seemed a little unfocused, and overpowering about that. I listened to the record again, and realized Bill was playing the F an octave higher than that, and that made all the difference. Thanks for the music lesson Bill, and Rest in Peace, Brother.

RIP, but I can't say Iiked the way she sang.

Here's his son on bari back when he was at Oxford: http://www.elmvillagearts.co.uk/audio/oxford-university-big-band/isis-4.mp3

Probably Jim Parker might have had something to do with them, based on that great doc fent99 posted, but Betjeman's son became a highly skilled contemporary composer, studying with Stefan Wolpe. He has some of his pieces on You Tube:

Yes, Cornwall, because he wanted to die where he came from, with Archibald, his teddy bear lying on his chest. His son Paul, probably the only person in the UK that despised him, became a jazz tenor sax player, dropping out of Oxford to study jazz at the Berklee School of Music. He taught and was a professional musician for a while, and fell in with some good musicians who happened to be Mormons, and he became a Mormon (which really angered his Anglican father)and studied music history at Brigham Young University in Utah. He wound up in NYC as the head of the music dept. at Riverdale School, and marrying a woman who studied Anglican church music, so maybe he and his father got together again before his father died in 1984.

One thing I'll never understand is that he never recorded one of his best tunes, "I Can't Make It Anymore". Richie Havens did a version that was fine, but a little too fast for my taste, and McKendree Spring did a version that was perfection. There were a few other not so good recordings of it, but we'll never get to hear GL's versioon.

Dennis Elliot, the great jazz drummer for the UK band If, quit music entirely and became a sculptor. Rick Laird, bass player at Ronnie Scott;s and later for The Mahavishnu Orchestra did the same thing, but he became a photographer.

A doctoral student I was talking to recently said Duke listened to some of the Neo-Classical composers, and used some of their ideas in his music. Speaking of Delius, there was a good story about Duke, Delius and Percy Grainger. Grainger did a presentation at one of the music colleges he taught at (Julliard?), and he announced that he was going to present a concert of music by the greatest living composer, but Delius wasn't available, so he had to get the second greatest living composer, Duke Ellington. Duke and his band gave them a concert they'd never forget.

Only an Eddie Costa expert could solve that mystery! Thanks! I forgot that story JA told me about Dorsey and Hefti, what a riot! I just found out the other day that JA got the schist beat out of him every day by his ogre of a father when he was a kid. As he told the story, both fists were clenched. He said he'd pound the crap out of his father if he was still alive now.

I read his bio by A.N. Wilson, and found out that he had released four albums with him reciting his poetry accompanied by music composed by Jim Parker. I thought You Tube would never have anything like that, but they had at least three of his records. Initially posted this in the classical section, but it sounds anything but. It's much more musical than rap, and more fun than anything by the Beats: