sgcim

All of them were great, along with his Symphonic Mouvements for Orchestra.Never understood his neglect, unless the French were using him as a scapegoat...

Then there was the interview with Chas. McPherson where he talked about his first gig with Mingus. Eric Dolphy told Mingus he wanted to leave the band, and Mingus pulled a knife on him, and told Dolphy to pull out his knife. Dolphy said he never carried a knife, so Mingus went across the street to buy him a knife. When Mingus returned with the knife, Dolphy refused to pick it up, and just said. "Mingus..." The other guys in the band managed to talk Mingus out of having a knife fight, while CM sat there wondering wtf he was getting himself into...

Vaccines ain't 100% https://www.businessinsider.com/ The Super of my co-op building just came down with COVID. So much for repairs for a while...

I When I used to have Black students with red, blonde, purple, green, orange, white or blue hair, I used to call the Science Dept. head in, and he used to perform experiments on them so I could find out if they were aliens or not. One of my best students did the US road tour of Hamilton. She had orange blonde hair, and I called up the contractor and warned him she might be an alien, but he hired her anyway. Curtis Amy was mentioned in the Times Sunday in a big article they did on his ex-wife, Merry Clayton, who lost both of her legs up to the knee in a car accident. She's putting out a new album.

Maybe, but Perry had black hair. I know Perry Blackwell and you- I mean THAT is not Perry Blackwell!

Fauci just said the vaccines don't reach their full strength till two to SIX weeks after you receive them! Just the other day he said two to two and a half weeks. I'm glad I turned down a drummer friend's invitation to work on playing some arrangements he just bought for $40. I listened to them online; they weren't worth 40 cents, IMHO.

Wow, I didn't know she played with Stitt. BTW, as you probably know, that blonde on the cover isn't Perry. Perry is a very attractive African-American woman. She and Kenny Dennis were really playing on the scenes in the club. They were in the scene where Bette Davis' landlord tells her she'll have to get rid of the musicians that play in her club, because she's three months behind in her rent. Like a true pro, Perry keeps smiling while she's playing, but Kenny looks a little concerned...

As good as Meeker's book is, he didn't bother to find out who the woman jazz organist was in the Bette Davis movie "Dead Ringer" (1964). It was on today, and I found out on the IMDB, that it was a singer /vocalist/actress/organist named Perry Lee Blackwell. She's featured throughout the movie playing in a duo with drummer Kenny Dennis at the club Bette Davis owns. She plays very well on a few uptempo swingers, and Kenny Davis trades fours with her nicely in one scene.

Thanks for the enlightening interview. It's funny that he doesn't mention the DeArmond RC1100 pickup of his D'A, in many people's opinions the greatest pickup ever invented. Guild paid a Korean company a lot of money to try and replicate it, but I bought one, and they failed IMHO. Harry DeArmond was an electronics genius. Kent Armstrong tried to make one, and while it's better than Guild's, it's still not as good as the original.The humbuckers might be quieter than the DeArmond, but if you're playing loud with Jimmy Smith, who's going to notice it? He also doesn't mention why he got rid of his D'A. I emailed him once about it; he never got back to me.

KB used his D'Angelico New Yorker on both of those albums with a DeArmond RC-1100 floating pickup. IMHO, he never got a fuller, smoother, more nuanced sound on any of his other records, when he used mass produced Gibson guitars. D'Angelicos were made by one man, John D'Angelico, who had a shop in Little Italy from the 1930s till his death in 1964. My father was a guitarist/songwriter back then, who lived on Elizabeth St. and used to hang out at his shop on Kenmare St.. He bought a D'Angelico from his best friend Duke, who was an excellent guitarist and jewelry designer, and designed the Art Nouveau design of the building on the headstock of the New Yorker model guitar. My father paid something like $400 for his D'A guitar, which was an early model made in 1935, which I inherited when he passed. When I went to the Felt Forum to see KB play at the Newport in NY Festival, Kenny was using that guitar, and when he played the first two quartal chords of his version of "People", numerous spontaneous orgasms were reported to have broken out through the capacity audience- both male and female! He played the guitar through his Twin Reverb, and filled the huge auditorium with the sonorous sound of his D'A. Kenny sold his D'A through Mandolin Bros., an overpriced guitar store in Staten Island for something like $86K in the late 80s.

It's an email link, that's the problem. He sent me four more Crescendos today, and one has two pages of Monk speaking, without any questions. Les Tompkins seems to do the best work. He essentially lets the musicians speak for themselves, using a few different ways of doing it. He has a conference interview with the Bill Evans trio at that time, Evans, Bunker and Israel, Then a guitarists round table with Jim Hall, Barney Kesssel, George Benson and a British player, I think Ike Issacs,OSLT.

I dunno, it's a PDF, so I don't know how to send it to ORG.

I have written here before about never finding anything with DM's spoken words. A British friend of mine sent me a Crescendo PDF of a feature on DM that consists of him speaking, sans interviewer. As expected, wonderful bloke! Also, wonderful magazine- no Downbeat BS.

Dogs have also been known to cringe when they sense the presence of EVIL!

Shit, great player. RIP.

I found this quote on the IMDB: "on working with Dexter Gordon in 'Round Midnight (1986)] It was incredible. Sometimes it was difficult to bring him in front of the camera, because crossing the courtyard of the studio could last one hour. But once he was there, he was so smart, so on top of it, and so knowledgeable about the camera. I never did more than three takes with him. He was amazing. One day he didn't show up. The next day, I wanted to kill him, but he came up to me and said "Lady Bertrand, I made a huge mistake. I knew I had to come and work, but my mind was set on going to the Turkish baths. And strangely enough, I could not change my mind." And what can you say to that? You cannot scream and yell, and be angry." RIP.

Someone who has gigged there a lot, and knows SW well, told me that SW's late father owned a chain of pharmacies, so that might explain Small's situation. I think that the wiping out of small businesses in NYC started long before the current administration.

Great sound on bari. I could listen to an entire record of his without bailing. Switching to alto doesn't hurt.

I've warned you guys about Pazuzu- first he wanted to break the faith of Father Merrin and Father Demian. Now he's going after the very soul of Organissimo!

Sad to hear, He's gone to that great "Connection" in the sky. RIP, Freddie.

It's hard to believe that this was BG's only LP as a leader. He was omnipresent in the NY studios in the 50's, and has two features on Johnny Carisi's self-titled jazz workshop album; two different versions of a big band feature written for Barry entitled, "Barry's Tune". The first version had some exceptionally strong Galbraith soloing. The second version was featured on the "Into the Hot" LP, that had Gil Evans' picture on the front of it, even though he didn't write a note on the record! The second version had all the NY jazz studio heavies, Phil Woods, Clark Terry, etc...on it, and Carisi added a latin section featuring a short Phil Woods solo. A third "Barry's Tune" (this time written by Barry himself) appeared on the Jaspar album. Clarinescapade, which was a quintet feature.There's also a ton of BG on the Lonehill Jazz compilation "Hal McKusick Quartet", some 40 cuts of the leaders quartet with BG, Hinton and Osie Johnson. Finally, there's a lot of BG's work on John Benson Brooks' four movement "Alabama Concerto", considering it was written for only a quartet, without drums and very little piano (two cuts).

Another enjoyable album Jaspar is featured on that hasn't been mentioned here is Barry Galbraith's only album as a leader, "Guitar and the Wind". Jaspar plays flute and a little TS on the album. Even though he plays a little flat on flute, he gets such a full, mellow sound, that it gives a special character to the music that no other instrument or flute player would have been able to supply. The blend between the guitar and flute is out of this world. The album is about as far away from a free-blowing session as you can get, and the arrangements by Al Cohn are very effective. The familiar rhythm section of Osie Johnson and Milt Hinton is present, but instead of Hank Jones, Eddie Costa is on vibes and piano, and Urbie Green is also featured. I paid a lot of bread for the vinyl of this great LP years ago, but it's also available as a double CD set on LonehillJazz, along with Oscar Pettiford's Manhattan Jazz Septette, recorded two years before the BG record, in 1956. The only thing I like on the OP CD is "Rapid Transit", a feature for Costa's rumbling piano.

Yeah, I guess you just have to be prepared to spend every day like the night the lead actress spent in that 'documentary' "Texas Chainsaw Massacre!

Here's a service that deals with finding people shots like the one mentioned above.:I had to use the computer to schedule my second shot, so don't take it for grated that they're gonna give it to you and notify you about it. I had to wait 37 days after my first shot to get my second shot, and it was at the same place as the first shot. https://hidrb.com/ Remember that you're not fully protected until fourteen days after you've received your second shot. My 14th day is tomorrow, but my ADHD/PHD, unvaccinated brother insists on coming over tonight, just to make sure he infects me before tomorrow. Jim- That "neanderthal" Gov. of yours seems intent on making Texas a sequel to the NOTLD franchise. Be careful.