sgcim

Yeah, I don't think it would've worked as well as McCoy, but it still would make a good movie. We get Kuhn freaking out and going on a killing spree at the VV. He takes out Trane, Garrison and Tyner, but Elvin slices his head off with a Zyldian.

Either Pettinger's book or the Gene Lees book 'Cats of any Kind' or maybe some article on Evans time with MD. i'll have my lawyer look it up, Your Honor...

Trane didn't like Bill Evans when they were together in Miles' Sextet, saying, ' a white man can't play the blues'.Among other things, that was why Evans could only take it for about seven months with that band. He had to get out of there. Maybe that was in the back of Trane's mind when he thought about the long term consequences of having Kuhn in the band. There's no doubt whatsoever that Kuhn would've done anything to be in Trane's band.

Monk liked to go down chromatically with altered chords. Aaron Sachs brought in a transcription of Monk's version of Sweet and Lovely to show me what Monk did with it. Theoretically, you could do the same thing with the OP's progression. Lee Konitz did the same thing on I Can't Get Started as a ballad. Changing keys in a tune doesn't have to be only 'skilltertainment'. Bill Evans and Gene Puerling used it as an aesthetic choice. We can't play Days of Wine and Roses anymore without going up and down a minor third like Bill did. It creates an 'orgasmic effect' for the soloist, and many players have to smoke a cigarette after the experience...

George took James Williams around, and introduced him to all the guys. He always helped out many young cats who were serious about the music. A saint.

Yeah, that's what Williams was quoted as saying about the album by George. "Bassically Speaking: An Oral History of George Duvivier" by Edward Berger. Published by Institute of Jazz Studies (#17) Rutgers, and Scarecrow Press, 1993. My PHD brother finagled borrowing privileges from Columbia University, and I've been taking advantage of them while they still last.

I'm 169 pages into Carol Easton's "Straight Ahead: The Story of Stan Kenton", and the portrait she paints of Greattinger, from the quotes of Bill Holman, Kenton,Jan Rugolo, and especially Art Pepper, is fascinating. Graettinger didn't use music staff paper to write his scores, he used large pieces of graph paper(!), with tiny squares; 100 to the square inch, the top representing Maynard Ferguson, and the bottom representing the baritone sax player. "In many of the squares, he drew infinitesimal numbers, letters, circles, squares and hieroglyphics. decipherable only to himself. But the bulk of the squares reflected his life-long preoccupation with color; varying intensities of blue, orange,violet,red,green and yellowformed abstract pictures of sounds." Kenton's presentation of City of Glass at the Chicago Civic Opera House in 1948, is worthy of Citizen Kane."When the last dissonant, nerve-jangling notes died away, the capacity audience sat thereas though turned to stone- baffled, confused, silent. After a long, frozen moment, Stan jumped up from the piano, gestured for the musicians to take a bow, and turned to the audience with both armshigh in the air, indicating that what they'd heard was something great, and it was over. Obediently, they stood and cheered." Kenton is quoted as saying (about Graettinger's music): "His music is great! I know it's great! No doubt in my mind!" But he'd confess to friends, "I don't know if his music is genius, or just a bunch of crap." Yeah, but all this shit would make a great Coen Brothers movie.

I'm 169 pages into Carol Easton's "Straight Ahead: The Story of Stan Kenton", and the portrait she paints of Greattinger, from the quotes of Bill Holman, Kenton,Jan Rugolo, and especially Art Pepper, is fascinating. Graettinger didn't use music staff paper to write his scores, he used large pieces of graph paper(!), with tiny squares; 100 to the square inch, the top representing Maynard Ferguson, and the bottom representing the baritone sax player. "In many of the squares, he drew infinitesimal numbers, letters, circles, squares and hieroglyphics. decipherable only to himself. But the bulk of the squares reflected his life-long preoccupation with color; varying intensities of blue, orange,violet,red,green and yellowformed abstract pictures of sounds." Kenton's presentation of City of Glass at the Chicago Civic Opera House in 1948, is worthy of Citizen Kane."When the last dissonant, nerve-jangling notes died away, the capacity audience sat thereas though turned to stone- baffled, confused, silent. After a long, frozen moment, Stan jumped up from the piano, gestured for the musicians to take a bow, and turned to the audience with both armshigh in the air, indicating that what they'd heard was something great, and it was over. Obediently, they stood and cheered." Kenton is quoted as saying (about Graettinger's music): "His music is great! I know it's great! No doubt in my mind!" But he'd confess to friends, "I don't know if his music is genius, or just a bunch of crap."

Another fascinating aspect of Duvivier's life was the jazz band that he and the members of his African-American community in NYC formed when they were still in their teens, The Royal Barons, which included a young Herbie Nichols(!) as their pianist. They modeled themselves after the Jimmy Lunceford Band, and they were so good that when they played opposite the Lunceford band at the Renaissance Casino at 138th and 7th Ave, the Lunceford band, although they were finished for the night, were back up on the stage, all listening to The Royal Barons. Billie Moore Jr., the RB's arranger, later went on to become a very important part of the Lunceford organization. George himself was hired as an arranger for the Lunceford Band after he came back from service in WWII. All the members of The Royal Barons went on to become successes, some in the music business, and some outside of it. George Parker went on to become a piano teacher at Julliard. Herbie Nichols and George went on to become Herbie Nichols and George. Bob Shoecraft went on to become a D.A. in Ohio, Jocelyn Smith became a Superior Court Justice, and so on. Unfortunately, there are no known recording of The Royal Barons. They broke up due to the War.

Panama Francis: "George and I had similar ideas about proper deportment, unlike some of the "problem children" of the bebop era. It seems that the intellectuals just love to see bad behavior on the part of black musicians. The worse you act, the more they seem to like you. They just adored Miles; that's their image of how a musician should act! That's not the way George and I were taught to behave. We always tried to be role models for the young musicians coming up." How far can you extend this? To rappers? What does it say about why people like this type of thing?

Billy Mitchell settled down on Lawnguyland in the 70s thru 90s. We all used to go down to Sonny's Place and hear him play. He came into one of our rehearsals with hale Smith to hear us play his arrangement of "I Remember Clifford". A piano player I play with sometimes used to play with him a lot. He had some funny stories about working with him, but I can't remember them right now. Something about a guy calling up the club looking for a coat that he left at the club, and Billy answered the phone with the coat on, and said he hadn't seen it... The clarinet player Joe Dixon was good friends with him. He said that some oil sheik from the Middle East liked Billy and his playing so much, that he gave him a jive job, sitting in an office a few days a week, signing stuff for him. I saw BM for the last time at Joe's house. He and Sonny were both on dialysis, and had not much time left...

I'm always careful to criticize AS' Strict Twelve Tone Method, and not Arnie himself. Warne was a bit less careful...

I just posted it as an amusing anecdote involving Warne. Imagine Warne pausing ten seconds after being asked the question, and then coming out with that! However, I can't deny my hatred of the strict Twelve Tone Method. As Honegger said of it, "It is as if one was attaching a ball and chain to oneself!" It represents the collision of Ear Music (which a composer like Honegger, and a musician like Marsh represent) with Eye Music (Schoenberg's strict Twelve Tone Method).

According to Peter Ind, the author of the book, and an intimate of Warne's, Warne was a man of few words, and when he calls AS "the worst crock of them all", you can best believe it is no 'yawn'. AS didn't 'ruin my life'; the 'fad' in the Universities with his Twelve Tone Method of Composition in the 70s convinced me that I didn't want to spend my time there writing a type of music that didn't speak to me in a special way. I call it a fad, because the very composition teacher that insisted that his students must write Twelve Tone music, today is writing an extremely tonal, triadic New Age type of music that is the exact opposite of Schoenberg's music.

I didn't listen to the whole Tapp song, just the beginning, and she was singing some short rhythms in the beginning, but when I listened to the chorus the second time, she brought out her whiteness pretty clearly. Nancy Adams was double tracking her voice on the beginning of her version, and then I turned it off. Give me Tracy Nelson over those two, any day.

She sound black... She probly going whitefaced for the publicity photo... At least the first one had a more R&B feel to it. When I was growing up on Lawnguyland, a bass player friend of mine was taking lessons from a guy who said he wrote "Only in America", and we all thought he was a local boy who made good. When I looked it up, his name doesn't appear as the songwriter. Maybe he played on the JATA session...

Tubbs and Louis Stewart! I think I'm in heaven. great playing by both on a great Coleman/Leigh tune.

White people wanna be kissed, too...

Thanks for the suggestions, Ted!

Yeah, but they're just people, this is Warne, man, WARNE!!!!

From Peter Ind's book "Jazz Visions': "In a lecture to the Norwegian State Academy which prided itself on its modernity, Marsh gained the enmity of many in the audience when a student asked his opinion of Arnold Schoenberg. After a motionless interval of ten seconds, he said, “Schoen-berg was probably the worst crock of them all, because he was the rst composer that managed to write music to death.” MLA (Modern Language Assoc.) Ind, Peter. Jazz Visions : Lennie Tristano and His Legacy. Equinox Publishing Ltd, 2005. APA (American Psychological Assoc.) Ind, P. (2005). Jazz Visions : Lennie Tristano and His Legacy. London: Equinox Publishing Ltd.

Devil's Brew and Moe Koffman Quintet Plays both have Bickert on them. Devil's Brew and Moe Koffman Quintet Plays both have Bickert on them. I'm sold. Thanks!

Gee, I wonder who the corporate heads of JALC were trying to appeal to when they came up with the idea for that concert/album? And they they use the compositions and arrangements of some vocalist/banjo player?

I listened to all his Pacific Jazz stuff, and he still had the same swing based rhythmic conception. Jimmy Raney made the comment on Pass that, "He sounds like Charlie Parker, all straightened out". Life on the road, and all the booze and drugs involved, could f-ck up anybody. As Casey Stengel once said, "I've seen the road make bums out of even good men". Look at what it did to Tal Farlow. If you compare his 50s stuff to the stuff he did in the 70s and afterward (although Larry claimed he saw him on a really good day), it sounds like two different players. The same thing with Lee Konitz. He told a friend of mine that he was never the same after his experience on the road with Kenton. It boils down to an individual's nervous system. That type of life has no effect on some people; with others, it really messes them up. As far as Pass is concerned, he once told an audience in the 80s, "Where the hell were you people in the 50s when I could really play?" but i don't think junk messed with his technical ability; he was probably referring to something else.

That's only because you've taken a course in JSangryology in University. If it had been phrased as clearly as you so eloquently did, we wouldn't have needed your translation. That doesn't surprise me. I'm considered a pariah on one jazz guitar forum, because I pointed out that fact about Pass (which Jim also was also aware of), and the fact that he 'borrowed' Jimmy D'Aquisto's plans for his guitar (without his knowledge), and gave them to the Ibanez guitar company, so they could make a "Joe Pass Model Guitar", modeled on the very D'Aquisto that Pass gave to Ibanez to copy. When Jimmy found out about it, he sued Ibanez, and their aborted D'Aquisto rip-off (they placed the pick-up in the middle of the space between the neck and the bridge!!!!) was taken off the market. D'Aquisto didn't speak to Pass for many years; even when Pass needed Jimmy on bass for a gig in NY, Jimmy played the gig without saying a word to Pass, pulled his cable out of the amp they provided for him, and marched out of the gig, without saying a word to Pass the entire night. When Jimmy got the contract with Fender years later, he and Pass started talking to each other again. Pass is considered a MAJOR deity of the jazz guitar world. To say anything negative about him is considered heresy.