sgcim

Serious teenage crush on her as a kid. I won't get graphic. Loved the Avengers theme by Laurie Johnson (a close friend of Bernard Herrmann, a serious Anglophile), and figured it out and played it on the guitar. Was annoyed at her replacement, Linda Thorson for a while, but got used to her after a while. Quirky stories by the prolific Brian Clements When they brought back the Avengers with Joanna Lumley, all that was left was the music score, which had an excellent polyrhythmic drummer playing on it.I don't know who it was, Randy Jones? DR was also in "The Hospital", written by Paddy Chayefsky, with Geo. C Scott, where she played the hippie daughter of an insane doctor, who murdered a bunch of patients in a NYC hospital. Then she played the daughter of Vincent Price in"Theater of Blood", a very witty horror flick where she helped her dad, VP, murder a bunch of theater critics, because they panned her father's performances in the theater. The murders were all taken from Skakespeare's plays. RIP, Mrs. Peel...

HeyJoeyousosmartwhownasecondworldwar?

I filled it out, and had to write-in Eddie Costa, because they left him out of their 'survey'. How dare they!

Al Kooper claims he got the melody for FT from a lick in a Barney Kessel guitar solo. He said it was an idea that BK played on the last chord of a tune. I could hear BK doing it on a minor 9th chord. I was pretty young when I first heard it on my sister's stereo, and it acted like a gateway drug to jazz (along with that CM song). I copied it, and taught it to my friends in my little kiddie rock band, and we'd jam on it for hours. The original studio version is pretty lame, solo-wise, so I think that's what AK meant when he made that vomit comment, but I think they realized how lame the flute solo was, and they did a live version that put the flute through an echoplex that made the flute solo sound much more effective. Shades of Don Ellis! That whole scene with Kooper, Katz and Colomby forming BS&T, and then Katz and Colomby forming a mutiny that led to Kooper quitting the band was something I was completely unaware of at the time, and a good resource on it is Steve Katz' autobiography, which presents the other side of the Kooper BS&T split. Kooper and Katz still hat each other's guts up to this very day!

Damn, my father used to have that album. It had a tune called "Cork 'n Bib, named after a jazz club that actually existed in Lawnguyland, where I grew up. I remember wanting to go there when I found out about it, but it was long closed by then. I worked a lot with the pianist on the Woody Herman album "East Meets West" and he used to be the house pianist at the Cork 'N Bib. He said Sonny Rollins played there and told the P-B &D to go home, and he played the whole gig there-solo!

Yeah, that can do it alright. I thought I was through after a serious case of DVT, so I made a CD of my own tunes. Then a specialist said it completely cleared up, and i didn't do anything with my CD. Covid-19 had me so freaked out (I live in what WAS the epicenter of the epicenter), I churned out fifteen new big band charts. Then things got better, and I haven't even printed the parts out yet! We won't be able to play them till the new year anyway.

Leonard Feather could be a real jerk...

The only other John who was a producer at Columbia that I can think of was John Simon, but he might have quit to produce the first BS&T album under the advice of Al Kooper. If you compare the first and second BS&T albums, you can hear what a fine producer Simon was. The brass on the fast part of "God Bless the Child" is simply pitiful. Bobby Colomby must have had a tin ear. Yeah, that seems to describe someone we all know...

Maybe it's no coincidence that the producer of DCTDHMTP, and ITWABOTB, was sound engineer Bill Driml (along w.The FST), known for the production of the 1968 Monk album, "Monk's Blues". He also did sound engineering on most of the other things FST did in the 70s, so he was probably considered important to their recorded work. "Don't Crush That Dwarf" was also their first album to use 16 Track recording, so Driml probably helped out with that.J.W. Guercio is also listed as a producer on the record, but he just did a short segment on side two.The album is a production/comedy masterpiece that had sound engineering that was superior to their first two albums Proctor also mentions that he did have musical training (he played the violin), and Austin is listed as playing guitar on one of their albums. Proctor can't recall the name of the producer at Columbia who saved them from being dropped by the record company (just calling him John?), but it must have been John Hammond he was thinking of, who along with Guercio, convinced Columbia to retain them. "I Think We're all Bozos On This Bus" might prove to be their most prophetic utterance of all...

Gene Puerling's wife gave North Texas University all his stuff, and they keep it in a special collection. I thought you were in remission; hope you're doing alright.

One time, all four of them were on the David Susskind Show. I don't think they let Susskind say a word. They just improvised and free-associated for their entire segment- passing it back and forth at the speed of light. Susskind just sat there flabbergasted. I was literally pissing my pants! Not a day goes by when I don't think of something of theirs' from the first three or four albums. Even when I was teaching, I'd strum my guitar, and lead the kids in a sing-a-long: "This land has lots of houses, This land has lots of mouses; And pussycats to eat them when the sun goes down". The kids would sing along When I made the absurd suggestion that we re-name the HS, Com*** Martyrs High School (I got banned from a forum for using that full name) , I just got a bunch of blank stares from my fellow educators...

Thanks for the link! They have to be the easiest people in the world to interview. Ask them one question, and they go on for fifteen minutes. They gave a good history of how they got together, and created some of the best humor albums of all time. It even explained the meaning of the title of "Don't Crush That Dwarf; Hand Me the Pliers".

Yeah, smooth jazz like Breezin'

I wonder who's appointing all these people who know nothing about the depts. they're heading?

Even though Bad Benson said Bird killed jazz, in Benson's autobiography, Happy Birthday Bird!

Look man, just sell me all your Dick Katz and Davey Schildkraut records/CDs I don't have, and we'll call it a day!

Great album!

Very sad to hear. Loved his playing on The Quest, but I haven't heard it for many years, since I loaned it to my cousin, and he liked it so much, he didn't want to return the vinyl! RIP, Mr. Persip...

One of the greats. Loved his group with Dick Morrissey, Perfect Pitch. Another great loss for jazz. RIP, Mr. King. https://londonjazznews.com/2020/08/24/rip-peter-king-1940-2020/

It's the only Bill Evans recording where there's no flow to his usual great improvisations. It doesn't surprise me that the trio hated the album.

It's not the painting, it's the music it reminds me of.

That makes sense, Trio 64 is a horrible album. Just looking at the album cover makes me sick, Regardless of what CT put Evans through on Trio '65, and what JS says, Trio '65 contained some classic Earl Zindars tunes, and fine performances by the Trio.

You can pretty much tell where Creed Taylor was at by reading Mel Lewis' autobiography "The View From the Back of the Band". I mentioned the story with him defending a drunk, abusive Stan Getz during the recording session for the Getz album "Relaxin;" in my review of the book, so I won't go into that, but Mel first went to Creed when he wanted to find a record company for the Thad Jones/Mel Lewis Big Band. Creed said, "It's great, but I don't want anything to do with it." He then went on with words to the effect that nobody wanted to hear a big band with long solos, complex arrangements, etc... I can imagine what Creed put Bill Evans through on the "Trio '65" album. Evans was strongly anti-commercial in his feelings about jazz. Time and again, you can read interviews he did in the 60s about jazz musicians selling out by playing jazz mixed with rock music, and on more than one occasion said he was very disappointed with Miles Davis' fusion direction, and wanted to speak to Miles about that. I could imagine what that would've been like! Scott's playing was very disappointing on those albums with Evans, and I much prefer his playing on the quartet he had with Dick Katz, and his playing on "Both Sides of Tony Scott, with the great Dick Garcia on one side, and the comparatively weak soloing of Mundell Lowe on the other side. Both records are free of the hysterics Scott sometimes got into in the high register, and other 'flag-waving' techniques which marred his playing.

Yes, the cut that David played on his show from Guys and Dolls Like Vibes (If I Were a Bell) had a great Bill solo on it. Eddie's vibes solo was weird; he kept playing the same riff over and over so loud that I couldn't even hear the changes under it. Evans did undergo a significant change in his playing, and I prefer the earlier playing to some of his later playing, but the sheer volume of recorded Evans makes it hard to draw a fine line between the two periods.It almost seems like his playing as a sideman with people like George Russell, Oliver Nelson, Cannonball Adderly, and the groups with Freddie Hubbard, Zoot Sims, Jim Hall, Hal McKusick, Art Farmer, etc... brought out that first style of playing. His son believes that he was aiming for a different type of music, that was an improvised type of classical/jazz music, but superior to both of them!

Another great show, David! Hopefully Larry and Jim will listen to both this show and your upcoming show on Miles and Bill, and repent for their sins regarding the great BILL EVANS! Well, maybe Larry, I think after his last posts, JS is pretty much beyond redemption concerning Evans... It should be noted that George Russell thought so highly of Bill that he transcribed Bill's solo in "All About Rosie", and included it in the published score of All About Rosie, probably the first time that was ever done, Russell even made a note of it in the score I studied.