sgcim

Well personally, I'm just opposed to the rigidity of the twelve tone system. Even though that satirical song is about atonality, the singer makes no distinction between atonality and the twelve tone method of Schoenberg. He's a Nashville Money Manager, not a musician, so he probably doesn't even know the difference between the two. To her credit, Fine resisted the twelve tone technique her entire career, and that's probably why Botstein decided to perform her work. If I know his taste in music, he's probably performing a piece from her tonal period. I think pretty much everyone agrees that the triadic tonality that ended with Wagner was pretty much exhausted. Schoenberg had to happen at some point, just as an experiment in a different direction, but Imho, and Fine's apparently, it was a failed experiment. Even Stravinsky's Piano Concerto resulted in an almost laughably distorted version of his music, as he struggled to maintain a part of his identity within the strictures of the twelve tone system. That period left him regretting his decision, and wishing he could go back to the tradition of being a "Town Musician", who just composed music for events occurring in his 'town'. Even Gunther Schuller in that essay I quoted the last time we spoke about this said "We've emptied out the concert halls", there has to be a compromise between the twelve-tone system and tonality. As Fine describes her later period as mutating tonality, tempered atonality, and NOT composing by avoidance, she found the necessary 'compromise' Schuller spoke of.

The only new music that the NY Philharmonic is playing that I saw listed in the Times was a piece by Julia Wolfe (whose music I like), who is anything but a twelve-tone composer. Leon Botstein's orchestra (God bless his soul) was also listed, continuing to play music by 20th Century tonal composers who were unjustly neglected, due to the twelve-tone purge of the 50s. They were performing the works of Vivian Fine this week. I always get a kick out of the fact that all the twelve-tone composition students I was going to school with are now working at jobs they're more suited for; Accountants, Computer Programming, etc...

Yeah, that's the correct spelling, but I had another album on which it was spelled Majorca. He played with Benny Goodman and the Sal Salvador Big Band in the 50s and 60s.

That's okay, it must've been him, because I did an exhaustive search, and found I spelled the freakin' last name wrong, that's why it was exhaustive. Anyway, he indeed played lead trumpet with the S-F Band on three of their albums in the 1954 period. Sadly, he died suddenly of a cerebral hem. at a very young age-shocked the NY brass community...

This quote thing is getting confusing, but I guess you just erase your last post and write a new one. TTK-In the message I sent you, I thought the Rolf Liebermann piece was a Trumpet Concerto, but it's a concerto for Jazz Band and Orchestra. Anyway, I wanted to know if the trumpet soloist was a trumpet player named Al Majorca. You can see the details in my last post, sandwiched in the group of quotes above.

That's a beautiful piece! Thanks for posting that. You'd probably have to go to the stuff he wrote for Getz to find anything on that level...

Besides the remake of Diabolique, can you or anyone name at least five rip-offs of Diabolique's plot?

Yeah, but my point is the R&B/Hip Hop groups of today don't even use contractors.

I was thinking that it would've been great if they played more of Breezin' on the video, but they have the whole cut on this Eddie Beal discography, and I think that's definitely ED on the bari solo, which is very good, IMHO, but there is no way he played any of the cliche-ridden tenor solos. Thanks for posting it!

There's a new book on Zappa's entire recorded episode called, "The Big Note" by Chas. Ulrich. I did some research for Ulrich on Bob Harris(1), a jazz pianist who played on the Live at the Fillmore East LP (1971), so I should be mentioned in it somewhere. http://www.newstarbooks.com/book.php?book_id=1554201462 I also did some research on Harris for the documentary film on Judee Sill coming out soon, so I should be mentioned in that, too. My mommy always told me I'd be famous one day...

Agreed. The guy used to go to bed reading orchestral scores, the way regular people would read books.

That's a beautiful piece! Thanks for posting that. You'd probably have to go to the stuff he wrote for Getz to find anything on that level...

Sauter studied with Stefan Wolpe, and was interviewed about his lessons with Wolpe, and said: "I never got quite to Schoenberg, it never turned me on the way the others did. It still doesn't. Wolpe was a twelve-tone writer, but what a good teacher "

Recorded in the pianist's living room: Straight from the pianist's living room Here's another thing we recorded in the pianist's living room: https://www.youtube.com/watch?v=5NgpHC1FGpc&feature=youtu.be

He would've been 29 in that. Looked younger than that, but who knows?

Your wife's got good ears; Finegan's Wake seemed to be built off of "Foggy Day". Nice stuff. I never heard of Park Hill on guitar; sounded good. Thanks for posting! WTF?

I'll never forget seeing him at Carnegie Hall with Phil Woods. He featured Phil on "You Must Remember Spring", and the entire place went into paroxysms of ecstasy, as we all leaped to our feet screaming with joy. Legrand and Woods pulled it off again on the title cut of their album "Images". He had a way of writing for PW that led to frenzied climaxes that were like nothing else in music of any kind. RIP, Michel...

What happened to NYC https://www.amazon.com/Bloombergs-New-York-Geographies-Transformation/dp/0820336815

Just saw a great, hilarious, crazy Japanese film, "Survive Style Five+" (2004). Nothing as profound as Sono (my fave Japanese director), but just unbelievable visual imagination, and wild sense of humor. The director and writer never made another feature, and went back into advertising, so you're not gonna find it in the Criterion Collection. Definitely up to Miike's "Happiness of the Kakuturi's", but no singing.

Yeah, 'dat da boy wonder...

I just finished this one, as i mentioned in the thread on Perry's death, and it's a great read. PR was on the scene in the 50s at The Lennox School of jazz, and has some cool stories about Giuffre, Bill Evans and, Ornette (his quotes of Ornette's description of his method of composition are hilarious). Just the story about jumping up and down on Tony Scott's stomach as TS played, should give you an idea of the type of stories PR tells about his life.

I just finished his autobiography, "The Traveler". Definitely recommended reading! He had an incredible life. His father was the composer Earl Robinson,and his cousin was Alan Arkin, so he was brought up in the left-wing/artistic/Hollywood circle. He had a talent for magic tricks as a kid, and got more seriously into it later on in his life. I was surprised to to find that he was a disciple of Tony Scott, and he goes into detail about how Scott got that huge sound out of the clarinet. Scott lost most of his teeth towards the end of his life, which explains why his later records were of a lesser quality compared to his work in the 50s. Perry was equally at home in the bop idiom and the free idiom, and that enabled him to bring the clarinet into many diverse musical situations, most of which were mentioned in other posts.