sgcim

Wow, I never heard of that Duo album Budimir made with Gary Foster. I'll be looking for that one. Thanks!

Phil kept it real to the very end. I love the crack about Norah Jones! Too bad he mellowed out so much when he wrote his autobiography, but he was still playing to eat in his 80s, carrying around an oxygen tank! He never took a steady teaching gig, Broadway show, or any type of non-jazz gig after getting sick of studio work on the East Coast, and he never became one of the walking dead of the West Coast studio scene, except when people would want him to play on their albums. Thank God we have music critics like Ken that could hear the truth, and still recognize the greatness of this great artist. Windbag Phil Schaap barely knew who he was, and embarrassed himself by only having one of Phil's albums for Phil's Memorial broadcast on KCR, that he played something like five times over and over! Luckily, Oliver Nelson, Quincy Jones, Thelonious Monk Dizzy Gillespie, Budd Johnson, Johnny Griffin, and many other great Black musicians featured him on their records, so Schaap played those all day..

Don Burrows and George Golla made a duo recordins down under with DB playing TS and flute called "Duo" A friend gave me a great duo of Warne Marsh and Larry Koonse playing a concert in Chicago that he got from the web somewhere and burned me a copy. Zoot Sims made that album "Nirvana" with Bucky Pizzarelli which Buddy Rich purposely spoiled for this thread by sneaking in on drums. Lenny Breau made an astounding album with Brad Terry playing clarinet called "The Living Room Tapes". You can tell your friend that Brad terry is playing a skinny black saxophone; I'm sure he won't mind... On the album "Buck and Bud, Bucky Pizzarelli plays six duets with Bud Freeman. The rest have a rhythm section. Phil Woods and Vic Juris made a duo album called "Songs One" just before they both died.

I just finished the Harvey Brooks autobiography, and Mama Cass needed the most help of all, according to HB.

He doth bestrode the world like a giant! Genius songwriter, IMHO., and great singer/guitarist. Played the alto sax, too.

The Dominican Republic story took place in Queens NY, and the Irish one took place in Brooklyn NY. The only time I've been out of the US was when I went to Expo'67 with the Boy Scouts, where some French speaking Canadians tried to buy my Boy Scout uniform from me.

Uh, yeah uh that's what I wrote.

I play guitar. Your English writing is great, considering how you learned it. The last word in your post should have been vain instead of vein. A former student of mine played alto sax in a Meringue Typico band, and he said the Dominican Republic audience usually gets so juiced towards the end of a gig, fights break out almost every time. One gig, so many of them got juiced they were randomly picking fights with anyone. Then, a group of them decided to go after the band, for no freaking reason! Something like 20 people charged the stage, and my student with sax in hand, and his brother carrying his accordion with no case, went tearing out of the back exit to the hall. They thought they were alright when they hit the city streets, but the MFs chased them for blocks outside till the crowd of drunks just ran out of steam and gave up. Sounded like a scene from a zombie movie. I played an Irish-American wedding where a the groom and the Best Man started beating the schist out of each other, because the bride was already fecking around with the BM during the wedding party. There was blood all over the floor. Then, there's the whole other topic of musicians getting into fights with each other on the stand during the gig. I've probably told some of those stories here before, so I'll leave them for another time.

A piano player friend of mine got us a duo gig at a large restaurant in NY. I won't even mention the borough, because I don't want to go into specifics for reasons that will be apparent as you read. I found out at some point that the owner was very 'connected'. I just hoped that the guy wasn't going to be there that night. We played for a while when all of a sudden I looked up, and there was a guy sitting at a table with a sick looking smile on his face, and the words L-O-V-E and H-A-T-E written on his fingers, staring at us. I knew that had to be the owner, but I asked my friend anyway. "Yup" was all my friend said. I had seen Cape Fear recently, either the Mitchum or De Niro version, and I knew this was not a good sign. We were towards the end of the gig, when all of a sudden, the owner was chasing after his girlfriend, smacking the crap out of her each time he caught her. My friend said pack up, and wait for me in the car while i get paid. I told him, "Forget about the money, let's just get out of here". I didn't wait for an answer, I just packed up as fast as humanly possible, and ran out of the place. Somehow, my friend got paid and met me in the car. I told him I was never going to play at that place again. Unfortunately, he got a call for that gig again, and he had to turn it down because he had a gig playing for someone who was even more 'connected' than the owner was. He had to turn the owner down, and got a threat from the owner that used language I can't use here. He was so afraid of the owner, he wound up not leaving his house for a month. He finally came out of his house when he heard that the owner was going away for a long, long time in a case that was so famous, that I can't even mention it here, so don't ask me. I might have posted this here before, but I hate to see a thread without any posts.

Just finished Harvey Brooks' autobiography "View From the Bottom" which was a wild look at the 60s music scene in NY and LA as told by a bassist who played with everyone, from Miles Davis (Bitches Brew), The Doors, Richie Havens (MIXED BAG!), Paul Butterfield,The Electric Flag, Mama Cass, Al Kooper ,(Supersession), Bob Dylan, Fred Neil, Tom Rush, John Cale, John Sebastian, Jimi Hendrix (two jam albums) Jim and jean, and others. HB, talks in depth about the actual sessions of records like Highway '61 Revisited and Bitches Brew and reveals that no music was used- not even a chord sheet! Miles would just say, "This is on C7", and they'd just jam, and leave it to Teo Macero to edit it, and play around with the three days of sessions. As a result, Brooks is listed as playing on six or seven other Miles albums, because Teo would just shove stuff from those three days of jamming, and put it on MD records made years later! With Dylan, HB would have to make his own little chord sheets while Dylan would just start playing and singing in the studio. Brooks was in the band at Forest Hills, when Dylan went electric with Levon Helm, Mike Bloomberg and Al Kooper, having to face the angry folkies rushing the stage, as Dylan was escorted into a limo and went untouched. Though Brooks lists Scott La Faro, Ron Carter, Milt Hinton, Charles Mingus, Paul Chambers and Ray Brown as his influences, the electric players like James Jamerson, Duck Dunn, Chuck Rainey and Gordon Edwards he also lists are more representative of his recorded output. Besides the disaster with Dylan at Forest Hills, HB goes into the dark side of his gigs with The Electric Flag, Mama Cass, Paul Butterfield, Al Kooper, Mike Bloomfield, Crosby, Stills and Nash, David Clayton-Thomas, The Doors, Tim Hardin and tells the true story behind the filming of "The Trip", Roger Corman's B movie about an LSD trip. In the 70s, he formed his own band, The Fabulous Rhinestones, who made three albums of dynamite funk/R&B/Rock, but never caught on with a wider audience. He wound up leaving the insanity of NYC and LA for Woodstock, and then emigrated to Israel..

Hell is other musicians....

He was utter perfection in HTSIB (WRT)! RIP, Mr. J.Pierrepoint Finch. We saw the world premiere of it at Radio City Music Hall. Seen it a million times since then. We need another Frank Loesser....

Long refractory period.

I remember playing that tune with a pianist who had been on the road with Chet baker for 8 months, and was featured on the Woody Herman album "East Meets West>, but had just just received his doctorate in Musical Theory. He lectured us on how the tune was the most perfect miniaturization of Sonata Form in the history of music. We all just nodded our heads as if we understood what he was talking about.

Yeah, that's considered the gold standard in jazz guitar on accompanying a vocalist. My father had that album in his record collection in his basement record collection. I remember taking a daring 'expedition' in the middle of the night when I was a kid, because the album cover had a quite risque photo of Julie London's cleavage. I sneaked down the stairs, and found the album in the middle of all his Tony Mottola albums, and brought it up to my bedroom, and made love to Julie London under the sheets. Then I cleaned up, and brought the album back down to it's place among the Tomy Mottola albums. I remember worrying that he might notice some strange looking stains on the LP cover, but he never said anything. Illya Kuryakin had completed another successful mission...

LOL! That was the issue. I probably got it from the library. Some friends of mine got so sick of the "New Stars" column they had at the end of DB, they made up a story about some teenage 'Wunderkind',and it got printed! It was back in the 80s, so I don't remember any of the details, but it was really funny.

I remember buying a Downbeat with HM on the cover saying, "The only way to make any money in the music business is to go into the Band uniform field." I should thank him for waking me up from my idealism by wishing him HAPPY 98TH BIRTHDAY, Henry!

Red Norvo with Jimmy Wyble in Screaming Mimi (1958).

The dude never sounded bad, even the CTI ones.

This was reviewed today by Kevin Blank- I mean Whitehead on Fresh Air.

I'd like to think that Leo would be proud of you- but he was so weird, predicting his reaction to anything was fairly problematic...

Can you post a link to your album?

I remember seeing a Mann album in a record store that I'm pretty sure was a live album that had Joe Puma on it. In the liner notes Mann seems to be commenting on the album some time after the album was made. He raves about Puma's playing, and talks about how much he misses Joe, and even asks the question, "Joe, where are you? It's like you've disappeared from the face of the earth!" I've spent 30 years looking for this album with no luck. None of Mann's live albums seem to have Puma on them. Anybody know this album?

Lightening Striking by Lenny Kaye

Bill Evans composed an Octet for Winds when he was studying composition in college. His son Evan emailed me that he was going to try to get it recorded someday.