sgcim

I just got done listening to 'The Complete Studio Recordings of the Chico Hamilton Quintet featuring Dolphy and Dennis Budimir', and it is absolutely astounding how Dolphy had mastered the mainstream idiom during this time period! They have him performing with an entire string section, and IMHO, he surpasses Bird, Stitt and Woods in his sound, inventiveness and technique during this period. As Roland Kirk said,"You gotta master inside before you can go outside".

I clicked on the link, but didn't see anything about Smith

It's the end of the world.

That's how it should go, but i still remember the prick tenor player that made me sight read 'Inner Urge' on one of those gigs many moons ago. He's got a non-music-related day gig now, which is where he belongs.

That Jon Hiseman bio is going for $160 on Amazon!

They do a live, thirteen minute version of 'Cheek To Cheek' with the old quintet in '77(w/Melillo and Leahey) that soars into the stratosphere. Woods and company were burnin' back then.

Yeah, I posted here about emailing his nephew, and he said that DG was living in seclusion, practicing Zen meditation in his parents house in Astoria, NY. His nephew said he had some reel-to-reel tapes of his uncle playing at home at the Sunday afternoon family gathering jam sessions they used to have at his house in Queens. His wife was a vocalist. I asked him if I could check them out/copy them/buy them, or whatever, and he got all upset, so i dropped it. BTW, I finally picked up the Oscar Pettiford CD 'Discoveries', with him, Eddie Costa and Ed Thigpen playing 'Taking a Chance on Love'- great stuff! Also Costa on A.K. Salim's, 'Blues Suite, which has a great Costa feature on it. Still looking for the Andre Hodeir date.

Thanks for the article. It has a link to the VV article on LG's death, which mentions that her daughter Deborah Gordon is going to take over the VV.

RIP. He was one of the earliest heavy jazz-rock drummers I used to listen to during his Colosseum days.

I saw him come out with the tank twice- once at MSM with the MSM Big Band playing Cannonball's part in a recreation of the "New Bottles, Old Wine' album, and it was the same thing; gasping for air when he wasn't playing. The second time was at a clinic he did at LIU in Brooklyn. he walked in late, dressed like a lumberjack, dragging his tank behind him on a little dolly.

I remember talking about PW's emphyzema, with Wayne Wright, who himself was undergoing an experimental treatment for the disease at the time (he passed away six months later). When I told him Phil also had it, he wasn't surprised. He had been on the road with Phil, and he described his behavior as "sinning". I asked him what he meant, and he said, "Oh, you know, just sinning in every possible way he could; smoking, drinking, gambling, cussing- just sinning in general!" When I told my devout, Lutheran brother that story, he came up with a nickname for him; 'Filth Woods'.

But That's A Queer Trait Just Mine?

I'm pretty much depending on the royalties from my OSLT patent to fund my early retirement...

Or Something Like That; I believe that is my own creation, and I am currently involved in securing a patent for it, so I can collect royalties every time it's used... Joey Goldstein told me you showed up at his gig Monday night. He laments the fact that you're not on the air anymore, as I'm sure anyone who digs jazz in Toronto also does.

I just saw an interview with PW from Hamilton College on you tube. The interviewer asks him if there were any albums he regretted making (OSLT). PW answers: "Well there's always 'Greek Cooking'..." and then they both cracked up laughing.

I played 'Borderline' on 100s of gigs. Little did I know that an ex MD sideman wrote it. RIP.

Whoa, man! Thanks for that! Great arr. by CB, and yet more superlative PW. Was that from a record PW made with CB, or was that just made for the compilation? I'm sorry, but PW didn't engage in 'bells and whistles', and after 1957, there was no 'period' where he got worse. It was straight ahead till the disease made it impossible for him to play at that level.

Back in college, I was warned not to go down to the first floor by my teacher; she said there was a student who freaked out, and was attacking students with his trombone.

RIP. I was playing at a NY jazz club years ago, and I met his ex-wife hangin' at the bar.

Yup, that's her! In the book, she mentions one ad in which she was shot as four different Vietnamese soldiers; one shooting a gun, another brandishing a sword, etc...

I'm reading a book a book by Alice Denham, 'Sleeping With Bad Boys', because she has a chapter on William Gaddis, my fave writer. In the book, she mentions that she posed for many jazz LPs, and shows her posting for an album called 'Four Lessons in Jazz',featuring Art Blakey, The Australian Jazz Quartet, Johnny Richards and Charles Mingus. She's shown on the cover in front of a blackboard, smiling and letting it all hang out. I've always wondered who these beautiful women were in real life, and she had quite a story: https://www.nytimes.com/2016/02/05/arts/alice-denham-ex-playboy-centerfold-dies-at-89.html Here's the album I was talking about: https://www.discogs.com/Art-Blakey-The-Jazz-Messengers-Charlie-Mingus-Australian-Jazz-Quintet-Johnny-Richards-4-Lessons-In-J/release/6027382

I remember his famous quote to Phil Woods during that period, "Be a man, Phil; sell out!"

By the time I had him as a teacher in a harmony class, he seemed pretty burnt out on everything. He never wrote another piece of music after that period that he wrote the String Quartet. I don't like the second movement of that quartet. It sounds like Webern on 'ludes... He wrote another piece for clarinet and piano that he described as featuring virtuoso passages for the clarinet of the type that a bebop player would play in a dance band combo. I can't find it on you tube.

One of the composers i studied with in college was a former jazz saxophonist and clarinet player who would incorporate some TZ jazz into his compositions. In his most famous piece, 'String Quartet in Two Movements' he has a section about two minutes into it where the cello starts walking like a bass, and then the 1st violin wails a solo, while the viola and 2nd violin lay down a mellow comp.