sgcim

I think Glasel used Garcia on a quartet LP' obviously not this one.

I love Raney, but that LP is all double tracks.

I just heard this last night, and was astounded by Schildkraut's playing on the whole LP. I had heard him on other records, and even ran into him once when we were playing wedding gigs in different rooms in Brooklyn, but I had no idea he could play like that. I like Handy, but the use of violin, flute and oboe with the trumpet and two saxes didn't knock me out. Schildkraut brought that record to a much higher level.

Hey Fer, I stumbled on to your Eddie Costa you tube collection. Some great stuff, but some of it wasn't EC. I think it was Don Abney(?) on the Lucky Thompson cuts, and Johnny Williams doing that great bass drone thing on the Sal Salvador version of 'Get Happy. Sounded like EC, anyway. Have you ever heard the version of 'Taking A Chance on Love' EC did with Oscar Pettiford on 'Discoveries? Is it worth getting? He did that tune with Tal and on the Live at Newport LP. One musician said that he was booked to play on a soundtrack that Q was scoring, and Q walked into the studio with no music! He just gave them some riffs and grooves to play, and that's how they did the entire score.

Make that Jack Kreisberg, and the album is 'One', which is excellent. The Cal Collins album is 'By Myself'.

Yeah, some great writing on that one! Those two guys, Aaron and Vinnie kept gigging into their 90s. I miss Aaron a lot. His solos were great works of art. I'll have to check out the Glasel album. Was Dick Garcia on that one?

George Van Eps put out a few solo guitar LPs, Soliloquy, My Guitar. Harry Leahey made one, but it's hard to find. Lenny Breau has two other than Cabin Fever, 5:00 Bells and Last Sessions. There's a CD called 'Legends' that has both Johnny Smith and Geo. Van Eps doing solo performances, but JS plays Spanish classical guitar pieces with a pick. Peter bernstein, Howard Alden and Jack Kreisman(?) have fairly recent solo guitar albums. Pasquale Grasso just put one out that is pretty scary. Bucky Pizzarelli made one a while ago. Kenny Poole made a great one before he passed. I think Cal Collins made one before he passed...

All those great SA Tonight Show episodes were erased...

I got this message yesterday, and ran home screaming like a little baby. I had just went through something like this with my Roku box. I was having trouble getting Roku, so I went to the Roku booklet, and did a search it recommended. I wound up on a Roku site with a beautiful looking operator who asked me if I wanted to chat about it. I explained my problem, and she asked me for my phone number associated with my Roku account. She said a Roku tech would call me back and walk me through the fix to my problem. A second later, the phone rang. It was the promised Roku tech! He led me through the process, and my Roku was magically fixed. He then told me it only cost me $499!!!!!!! He told me if I didn't pay, he'd undo the magic fix, so I paid. Then I looked up the company I paid, and it was some scammers located in New Dehli. I contacted my credit card company, and they told me to uninstall the files they loaded on my hard drive, and they'd take care of the charges. That's why I'm reluctant to do anything that asks me if I want to make changes to my computer, like Lipi suggested. You can't trust anyone...

I never thought of The Hustler as being a West Coast film, because it used all East Coast musicians on the soundtrack- Roswell Rudd, Phil Woods, Billy Bauer, Kenny Davern and Jimmy Cleveland- but it was filmed in both LA and NY. They probably recorded the music at Edison Studios in NYC. Hopkins used Woods on another film he scored, 'Lilith', which had some nice sax session things with Woods playing lead alto.

Who knows what goes on in the choices they make for film soundtracks. Maybe DR told them to play the melody like that, maybe a film executive told them to play it like that, maybe Cassavettes wanted it like that, maybe it was the musician's choice. All I know is that I have the original Dot recording of DR's music for that and other film music he wrote, and it sounded nothing like that. In the case of the Dot record, it was not from the film; it was Raksin's LP, so everything is exquisite. The New Wave II album has many versions of that, and the only one they used in the film was that horrific version where they got some opera singer to vocalise the melody! They played that twice- the recording studio scene, and the corny ending scene where Stella Stevens returns to Ghost (Bobby Darin) and the group when they're playing in that club. You can hear Uan Rasey doesn't use that schmaltzy vibrato on the Chinatown Theme (which I hear as Goldsmith's homage to the great DR). Sure, he does use some vibrato, but not that fast, tasteless vibrato he uses on TLB, which makes me feel like I'm playing a wedding gig with some fat, smelly trumpet player with a waxed moustache playing Peg of My Heart 100x in a row. That was a great segment of that anthology. The trumpet player/leader of the group stole some sacred voodoo melody, and arranged it for his jazz combo. When he performed it at the jazz club, the voodoo gods were not happy...

I just heard an interesting record called something like 'Jazz in the Movies: The New Wave Vol.2', where they had every cue from movies like The Hustler. You get to hear stuff that was cut from the movie for whatever reason, but is still some great music. In The Hustler, Kenyon Hopkins wrote some great cues featuring Phil Woods, proving why people like Oliver Nelson, Quincy Jones, Michel Legrand, Hopkins, Gary McFarland, and others, used PW whenever they were lucky enough to get him. There's other interesting stuff from European movies featuring writers like George Gruntz, Michel legrand, and some Eyetalian film composers I can't recall. The West Coast film music featured I found painful to listen to, because all the soloists who improvised or played melodies, played with this horrible, corny-assed vibrato that made me want to puke. I prefer film composers who managed to integrate jazz into the score, rather than just tell guys to play a tune and blow, because you can hear that on any jazz record Few film composers and jazz musicians were capable of handling something like that, but the soundtrack by Eddie Sauter to 'Mickey-One' used Stan Getz to great advantage.

Well said!

RIP, Coco.

Good to hear!

KCR plays Jobim's music all day on 1/25, which is Jobim's birthday. They had some great live performances in the studio (with a slightly out of tune piano) with some Brazilian artists in NY that I've never heard of, playing Jobim tunes. It goes on to till midnight.

Thanks!

I know Jimmy Raney played as a sideman on one Most LP. Is he on any of these four? I saw the documentary on Most a few years back. He was a tremendous scat singer! His ideas on flute were fine, but I was surprised how small his sound on flute was in the documentary.

From what Jill said in her email to me, they wanted one of the major publishing houses to put it out, or they were going to put it out on their own. Scarecrow would've been fine, but they wanted one of the bigger houses, and you know what they're interested in... I bought the DVD of 'Life in Eb', and it didn't offer anything new to me. Chan's memoir with a similar name had some stuff on Phil that I'd never read before.

Thanks for the info, Ken! Jill emailed me after the great Stroudsburg Memorial Concert last year saying they were still looking for a publisher. Hopefully, she'll email me when the autobiography is available as an e-book. I'm looking forward to hearing the recordings Bill is releasing. I'm still reeling from Phil's performance of 'Cheek To Cheek' on one of the North Sea jazz Festival recordings. Scooby, I'm looking forward to playing through all those great Cherokee transcriptions. Thanks again!

Thanks for all the great stuff on Phil! On Judgement Day, we faithful in Phil will spend the rest of eternity trading fours with Phil and Bird in the promised land. Have you heard any word from Jill about the availability of Phil's autobiography?

WKCR just played this Hicks LP. I can't imagine it getting much better than this. Watson, Hicks and crew are on fire!

Yea, the only CB things worth listening to are the ones Almer wrote. CB wanted co-credit for 'Along Comes Mary, because he sang on the demo! Yeah, right... Then CB didn't give credit to Almer on his Sagittarius LP for one song Almer wrote, probably to get revenge. Another great Almer song is 'Little Girl Lost and Found', which brings out another heavyweight from this scene, Ruthann Friedman, who sang it on a single. Friedman wrote 'Windy', and was able to live off the residuals till the Internest ruined that. She retired in 1972, but made a comeback in 2006, probably because she needed the dough. Both she and Almer were also inventors; Almer designed some special bong that became famous, and she designed some type of stationery that you could also use as rolling papers! She made one LP that features her songs, with only her doing a great job accompanying herself on the guitar, straddling both folk and jazz.influences. They did another compilation LP, 'Hurried Life' which features some tunes with Van Dyke Parks playing and producing.

Thanks for Poor Old Organ Grinder! I managed to find the other cuts and Sleepy Hollow People on YT, but Poor Old Organ Grinder was a nice surprise. I like the psychedelic, episodic tempo changes he throws in there; very inventive guy. He had another tune on The Association's first LP that he co-wrote with Curt Boettcher, a ballad called 'The Message of Our Love' that was pretty nice. I checked out a bunch of Boettcher things, and wasn't impressed with his songwriting; pretty bland, unimaginative stuff. The Association dragged in Clark Burroughs of The Hi-Los for the great vocal arrangements on things like Cherish, Never My Love and Windy, although I don't know who was responsible for the vocal charts on 'Requiem For the Masses' . I checked out samples of 'And Then Came Tandyn', and there didn't seem to be anything on the same level as 'Along Came Mary', or 'Poor Organ Grinder', but they were only 20 second samples... Is there a full version of that interview of Tandyn and Lenny? They only show a very short exchange between them, but it looks like Tandyn is seriously bugged with Lenny, and it could get really good!

In one big band I play in, we always start our concerts with Toshiko's 'tuning' blues chart. It just goes on and on, chorus after chorus. There's nothing wrong with it, but it just feels like it goes on and on, no transitions, no interludes, no contrasts, just on and on till the end...