sgcim

I posted here that they should make a movie about SG, and this book above supplies a perfect title. Gary Burton's autobio supplies a lot of info about the monster at this time, and talks about how Getz treated Astrud during their touring together. Getz seemed to like reaming young musicians for everything he could get out of them. He had GB acting as his freaking tour manager at the time, taking care of everything, and GB happened to take a peek at how much Getz was getting paid for the gigs they did, and how much he was getting paid, and he found out Getz was making an astronomical amount, and he was getting paid 1/4 scale! Add Astrud's name to the list of victims of Getz- Billy Bean, Gary Burton, Mel Lewis, Charlie Byrd Jimmy Raney, and who knows how many more...

Amen to that, like most things you post, Ken

OP gets his revenge on the noses slightly out of joint crowd of Organissimo!

Here's what the first band with Ian on alto sax were like in 1969:

I was listening to that album yesterday, and it reminded me how great a drummer Giles was, The light touch, the crisp sound, the creativity in his fills, he's got to be one of my fave drummers of all time. They get into some great uptempo grooves on that album, and Stevie Winwood plays keyboards on the first tune. I looked back at Chris Albertson's review of ITCOTCK, and he gave it five stars in DB. He had been handed a press kit, and Ian said that his two biggest influences on sax were John Handy and Eric Dolphy.Then Chris went to the Fillmore East (my tone deaf B-I-L was also at that show), and he caught KC opening for Joe Cocker and another big British band. He said that KC blew Cocker and the other band away. The show was completely different than the first album. Albertson said it was like Ian was leading a free jazz group with McDonald taking most of the solos on sax, He said they added improvisation to every tune they played from the first KC album they played. I also agreed with Albert's assessment of "Moonchild" being the weakest track on the album, with that twelve minute long free section being pure BS. However, the rest of the album was largely Ian's compositions- ITTW was recorded on the Giles, Giles and Fripp album, with Judy Dyble doing lead vocals, but everything else basically the same as Ian's arrangement on the KC album, and the middle section of 20th Century Schizoid Man was composed by McDonald when he was in the British Army. His woodwind writing and playing and Lake's great vocals were the best part of "Epitaph". Of course, Fripp will take credit for all of it, because he survived both of them...

RIP, Ian. His flute solo on I Talk to the Wind was beautiful, and his role as master producer of ITCOTCK made the album the great work of art it still is, 50 years later. It was too bad he and Dennis Elliot got involved with Foreigner,

They have the new one on Netflix on Blu-ray. I recently saw the old documentary they did on You Tube. Enjoyed it quite a lot.

The four Farlow cuts are also on all the 12" releases of the originally 10" "The Tal Farlow Album". the four 12" releases are: Norgran MGN in 1955 Verve MGV-8124 (1957) Verve V-8124 (1961) Columbia 33CX 10051 (UK) The CD release of the four Farlow tracks (besides the Mosaic release) was: "The Tal Farlow Album" Verve POCJ-2572 [Japan 1999] One of the Oscar Moore cuts, "A Foggy Day" can be found on The great Guitars of Jazz record I mentioned before. It's a great rendition.

Verve released a great album called "The Great Guitars of Jazz" featuring cuts by Farlow, Kessel,and Moore., as well as Howard Roberts, Wes and Herb Ellis and Kenny Burrell. I don't think that made it to CD, at least I've never seen it.

Some great stuff! Benny Carter w.strings and the Oscar Peterson Quartet. Never heard BC sound more bop-like. OP more restrained than his own recordings, Herb Ellis on top of things. Jimmy Rushing fine as usual. Bird live at the Royal Roost- great except annoying Symphony Sid, but at least Sid Gribetz is doing the live broadcasting instead of you-know-who....

RIP. The Bergman's were extraordinarily prolific, and just had that gift for coming up with lyrics that never seemed forced, or trite.

I'll never forget when he was on the Terry Gross show. He was in the middle of saying something, and she cut him off with her typical, "Well Howard Hesseman, it's been very nice having you on the show..." And HH yells out "What? You're just going to end the show like that? I wasn't finished!" She does that every show, because she's on schedule, but it was refreshing to hear someone finally call her out on the ridiculous, robotic way she ends a segment. RIP, HH

I still can't believe they didn't go for the FG on 4th down. You've got the ball on the 5 yard line and you're going to give up the ball without putting on some points? That late in the game? This isn't armchair, it's common sense.

"Mickey-One" had tons of outstanding Getz on a superb score by Eddie Sauter. I even taped the best parts of Getz' playing on my VCR,and then duped it on to disc. Some of it is as good as "Focus", and uses the same approach of Getz improvisation over Sauter's great writing. It took me a long time to find this one, but Perry Blackwell led an organ trio and sang in the 1964 film "Dead Ringer", in which she was featured several times in Bette Davis' cocktail lounge. "A Man Called Adam" had some of the best trumpet playing by Nat Adderly (ghosted by Sammy Davis Jr.) I've ever heard, and SDJ himself performs a beautiful ballad that was written by Benny Carter. Mingus was renowned for the Bass and Drum solo in his score for Cassavettes' "Shadows". Plas Johnson is strongly identified with The Pink Panther (1963) series of films. "The Gauntlet" opens up with a long, slow blues, with a screeching trumpet solo by Jon Faddis which is among the best playing he ever did. Art Pepper also joins in.

Comparing the great music that was recorded at Left Bank to some of the music at WGV, they would be lucky to have it.

One of the things I'll always regret is having to turn down Big Joe Turner's 'audition' gig at Tramps back in the 80s. I did a gig with Rudy Williams (Mingus' cousin) in the city, and he had Al Jabaz Williams on keyboard, and Charles "Honeyboy" Otis on drums and vocals. I still think "Honey Boy" was the greatest vocalist/drummer ever. Anyway "Honey Boy" really dug my playing, so he invited me down to do the gig at Tramps with Big Joe Turner. I couldn't make it, because da boss man on my steady gig threatened to fire me if I didn't make his gig, which was the same night. The Joe Turner gig turned out to be a complicated situation: the artist formerly known as Fasstrack wound up doing the gig that night on guitar, but a famous songwriter who was at the gig that night, didn't approve of him for some reason, and he didn't get the gig. The guy that got the gig was a music store owner on LI, who passed away a few years ago. Joe Turner passed away six months after that Tramps gig, and my steady gig went on for about ten years after that, so that was some consolation.

That's great to hear. I got an email from the Queens Library recently saying that he's doing a concert with a young winds player that they're streaming. It really surprised me- in a good way.

It is an unwritten law of Organissimo with some people- any jazz musician who is white is suspect.

Yeah, we read the book in JHS English class, and then I saw the movie It was the life story of David Wilkerson, the priest who converted Nicky Cruz, the leader of a tough Puerto -Rican gang in Williamsburg called the Mau Maus.

RIP, to one of the greatest actors who ever lived. I still cry at the end of, "To Sir With Love" when Lulu sings the title song. He was also great in "A Patch of Blue"...

Yeah, the film was a pisser. It was released on Something Weird in 2001, after being made in 1971 by Psychotronic "B" film director Willam Grefe` They didn't release it, because they didn't think it would be a commercial success. Grefe was was hired by the producer and flown to LA and then told by the producer, 'Oh, by the way, we don't have a screenplay(!). Every bit of dialogue was improvised, and real hippies, homeless alcoholics, Jesus Freaks, etc... just said whatever popped into their head. The plot is about a priest who's teaching at a private school who realizes he's not relating to his hippie students well enough, decides to drop in on a few of them who just cut his class to smoke pot. The students reward him for his concern by spiking his paper cup of coca cola with LSD. He has a trip which makes him lose his faith, and decides to leave the church. A big surprise was Mitch Mitchell (the drummer in The Jimi Hendrix Experience) singing a very hip bossa nova, and a nice jazzy/bluesy rock tune, both written by some guy named Abe Newman(?). BTW, Chubby was the bass player in Woody's band when they played The Ebony Concerto by Stravinsky. He has some great stories about it in this interview: https://www.youtube.com/watch?v=DlHE2RAvvPE

I tried to put this in miscellaneous music, but one of my old posts keeps coming up for some reason. Anyway, we were watching a 1971 B movie called "The Psychedelic Priest, and in the opening credits I see Chubby Jackson's name. I figure they're going to have a jazz scene in the movie with Chubby playing bass, so we watch the whole movie, and there's only rock music (featuring Mitch Mitchell singing some nice bossa rock tunes), and no Chubby Jackson playing bass. Then I do a little research on the flick, and find out there was no screenplay to the film; it was all improvised. I then watch an interview with Chubby Jackson, and realize he played a hippie hating guy in a bar scene that was so funny, the 'actors' sitting at the bar are breaking up ;laughing their heads off at Chubby's improvised hate speech about the hippie priest in the bar! It was supposed to be a serious scene, but since there weren't any actors in the movie except the two leads, the extras at the bar couldn't hold in their laughter, and they filmed it that way The scene occurs at about one hour and two minutes plus some odd seconds into the movie. I found it on you tube and tried to cue it up to the bar scene:

A friend of mine's got the SA show where he had Tal Farlow and Eddie Costa on it, but it's only audio- as most people know, they used to re-use the tapes of the shows, and they wiped out countless great performances by many of the greats- as shown with that great Miles Davis Quintet performance. For some reason, Costa only plays vibes on the SA show episode.

The Disco Sucks movement as I remember it was started by all the white hard rock fans, who felt as if their rock faves weren't being played on the air anymore, because everyone was jumping on the disco bandwagon (even Ethel Merman!) to sell records. TTK showed us Jack Jones disco foray. At least songs like "Last Dance" by Donna Summers had a harmonic structure that you could blow on, and use hip subs and funk hits on their arrangements. I used to look forward to playing tunes like that and Barry Manifold's "Could This Be the Magic". We had a drummer who was into Tony Williams, a Trane tenor player who was on the road with Gerry Mulligan and Lou Rawls, and a hip keyboard player who worked out his own ray Charles-type arrangements on all those disco tunes (he played left hand bass, so I had to follow him) so we turned them into hip jazz-fusion tunes, and the lead vocalist had big ears so he could sing right through all of the stuff we did behind him. "Hot Stuff" was another hip arr. we did, where we'd sub D13,Db13 C13 for the A chord. Like Holland and Dozier said, "We just put a bow tie on the funk". As Dan said, "It's the NYT that truly sucks". They revise history every freaking week. Unfortunately, all those talented songwriters like Dozier and Holland have now been replaced by techno-dweebs that couldn't write a decent song if a gun was pointed at their heads.

RIP. I always liked listening to him announce a game. Now we're left with Al Michaelsh. I don't know if heesh too cheap to get implantsh, or he getsh washted before a game, but shomeone should take the mic away from him if he hash to shay a word with the letter esh in it.