sgcim

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.

I've heard a lot of the songs, but I never knew she was the first black woman of that period. in the Brill Building.

I always wondered who he was. Thanks for posting. I learn a lot from his interviews that I couldn't learn anywhere else.

Leonard Lopate had the author of this book on Rose Marie McCoy on his radio show on WBAI yesterday, and I had never heard of it before (or McCoy). The author met McCoy through a mutual acquaintance, and was probably the only writer to have access to McCoy, because McCoy was almost impossible to schedule interviews with, for various reasons. The dedicated author was retired when she wrote the book, so she had a lot of free time to interview the elusive songwriter, who was the first black woman to break into the entirely white,male province of the Brill Building songwriters, paving the way for Carole King and others. The music biz was less corporate back then, and McCoy (who was a talented singer) was able to walk into any office, belt out a song, and get a contract in a matter of minutes. As a result, her songs were recorded by everyone from Nat Cole to Elvis. Lopate himself told a story about how he and a friend were able to do the very same thing while they were in high school, and got a contract on the spot with The Sultans, after singing an agent a few of their songs. https://www.amazon.com/Thought-We-Were-Writing-Blues-ebook/dp/B00SVYJMLU

Yeah, but unless you're playing free, you have to play within a certain harmonic framework. Even Monk understood this.

Yeah, the piano was what I was talking about. It probably would've sounded fine if someone who respects a great song, like Tommy Flanagan, had accompanied her, but she's gotta use a young guy who wear a funky hat and plays wrong changes, cause 'they're the new generation, and soon they're comin' to your town..'.

They pretty much destroy this great Cy Coleman tune, which is pretty hard to do:

That pretty much describes Kevin Whitehead's segment, which I generally turn off in advance.

RIP to a great comic actor.