sgcim

I'm not talking about Rod Argent here, I'm vamping on some changes...

Sorry to hear that. I still wear a mask in any indoor gathering where the A/C is turned on. I don't care what people think; there's always gonna be a summer surge.

Detectable? I find it delectable! When one of them unknowingly stumbles in here, and I feast my fangs on their supple flesh and blood, I realize that Stoker was probably a Boomer himself, and was alerting future generations of the unquenchable pleasure of nubile, female blo- wait I better stop here, I don't want to scare any of them off!

https://www.yahoo.com/news/corner-renamed-max-roach-way-172122651.html

Technically , not a jazz book, but Spencer Dryden sat in with Shelly Manne and was known to be a jazz drummer, Grace Slick scatted little things and listened to Ella and Sarah, Jack Casady played jazz with Danny Gatton in DC, and liked Mingus and Scott La Faro Jorma did play some early jazz in Hot Tuna, and Marty Balin was more into R&B than rock. Papa John Creach worked with Eddie "Cleanhead" Vinson, and Nat Cole in some movie. I'm reading "Got a Revolution!: The Turbulent Flight of Jefferson Airplane" by Jeff Tamarkin. There are many times when they practiced free improvisation on their records and performing live, too. They were busted many times for drug possession but never spent a day in jail. They all got into harder stuff than pot and LSD, but didn't die young like all their SF friends. Grace Slick performed on nationwide TV in blackface, survived a drunken car accident at 150 MPH, lived with every member of the band except Jack Casady (they never liked each other), and told the audience once that they would never be able to afford things like limousines and shrimp salad like the Airplane did, because they couldn't do anything, and should get off their fat asses and do something. Marty Balin wound up in the hospital after jumping down from the stage at Altamont, and trying to help the Black guy that was murdered by the Hell's Angels ( who were acquitted of all charges). He was the founder of the Airplane and was so sick of them that he left them for three months, and no one even called him, so he decided to call it quits. And so on...

Thanks!

What's the English translation?

Yeah, I read that book, too, and it seemed like Drake was pretty much at the end of his rope, trying to get FH to cover all his songs. He lived in a houseboat near where she lived, just to convince her to make an album of his songs, but she didn't think they fit her style, and refused to do any of his songs. Then they hired studio musician Reg Dwight(EJ) to make a demo of three of his songs, and they sent 100 copies out to 100 different artists, but no one wanted to record them. You can't say Island Records didn't believe in ND's music, people in Europe just didn't care for it. I don't think it ever reached the States. There was a similar case with Judee Sill, except that people in the States didn't seem to like her music, while people in England seemed to love it. I think in ND's case, it seemed like intentional suicide, where in Sill's case, it was an accidental OD.

Sounds like something Yogi Berra would say in jest.

I got it for the first time this Christmas, and after one sleepless night,I got a script for Paxlovid. It worked pretty fast, and I was able to sleep again. The only side effect was dizziness when I'd bend down. but that could've been an inner ear problem I get once in a while.

Maybe everywhere else in the world, but in this book and thread on it, only the thoughts of Miles and Trane exist. When taking on Wallace Roney as his protege, the first thing he told "Wally" was not to listen to Clifford Brown, because he didn't swing.

Yes, it was exactly that period.

He was very depressed about Coltrane, Cannonball, Evans and even his rhythm section leaving him. He was also envious of their success. He used to make fun of Cannonball's hit on Mercy, Mercy Mercy" Miles used to call it "Country Joe"!!!!! LOL!

Miles even gets on Diz' case in this book. He's quoted as saying he doesn't want to come out like an Uncle Tom like Satch and Diz. After being humiliated nightly, and begging Bird to fire him every night after he replaced Diz in the Quintet, he bragged to Diz later on, "I can play all your stuff now". Diz put hm in his place immediately, "Yeah, but you gotta play it 8va lower!" Yeah, easy for him to say.

Tell that to Richie Beirach. He said Evans got the specific voicing of the two first chords of "So What" from Scriabin. I thought I knew the correct way to play them, but it's more complicated than just stacking 4ths. I played it that way in front of a poor starving adjunct jazz history teacher in college, and she yelled at me "NO!!!! that's not the right voicing!!!!!!!!!!!!!" I told her that's the way you play it on guitar, and she said it's different on piano. So Scriabin was the first to use them in classical music, according to Beirach, and Glenn Gould called Evans "the Scriabin of Jazz". Yea, that's what it's supposed to be, a history of jazz for the guy in the supermarket line.

Kaplan is very good at finding quotes from Miles about how he felt about musicians' careers after he left his band. Miles said that Bill Evans never sounded as good after he left his band and went out on his own, than when he was in the Sextet. "It's a strange thing about a lot of white players-not all-just most- that after they make it in a Black group they always play with all white guys no matter how good the Black guys treated them ," Davis said. "Bill did that, and I'm not saying he could have had any Black guys better than Scott and Paul. I'm just telling what I've always seen happen over and over again." This would have been news to Jack DeJohnette, who played with Evans from 1968 to 69.... Kaplan goes on to quote Ethan Iverson, "I think Bill could have done something different-- he could have had more Black musicians in his trio. He could have reached out, after being anointed by Miles Davis, and tried a bit more than he did." Then in 1965, John S. Wilson lashes into Evans in DB, calling his music little more than superior background music. Readers reacted with a flurry of letters, both pro and con Evans. Later on Jon Baptiste defends Evans , saying that his use of overdubbing on "Conversations with Myself" was more innovative than anything Trane or Miles did, and compares it with what is going on in hip-hop, currently. But the pressure by critics and certain players kept piling on, and Richie Beirach asked him why he didn't pursue fourth voicings like McCoy did, since Evans had invented it in the chords to So What? Evans replied that "it wasn't lyrical enough".` Finally Evans complained to Len Lyons in DB in the 70s, about "This preoccupation 'what's the most modern' instead of who's making the most beautiful, human music.[the most modern} may very well be the mos beautiful as well,but to make just avant-garde the criteria has gotten to be almost a sickness, especially in jazz". Kaplan goes after Miles and Trane's later music as well, but seems to give them more leeway, due to Tranes LSD consumption, and both of their sicknesses.

I'm just quoting from the book. I love John Lewis' playing and writing, and have many of his albums. The book shows a lot of the reactions to albums like Birth of the Cool, Bitches Brew, On the Corner- you name it. If one of the three main people in the title were on it, it gets covered. Even their club appearances and concerts. Stan Getz and Marian McPartland both didn't have any idea what was going on with "Kind of Blue" when it first came out. It's not just about "Kind of Blue". Kaplan interjects many of his and others' opinions of the three musicians at different stages of their careers. It's 484 pages, he's gotta write about something other than one album.

Lewis had some type of ELRON/Freddie Hubbard mind control over Bags!

Yes, it was a pretty weird situation back then. Lewis didn't seem to like bop very much at that point, and he was trying to take things into the third-stream direction. Besides Klook, Max had a more visceral reaction to Ornette. When Lewis made it possible for Ornette and Cherry to go to the Lennox School of Jazz, he was purposely trying to create a disruptive situation, because he knew people were not going to tolerate their presence at the school. Brookmeyer was trying to teach Ornette in an ensemble class, and he's quoted as saying to Ornette, "Damn it, play in tune!!" When Brookmeyer saw the attention Ornette was getting, he quit his teaching job in protest. The students were in a state of panic, not knowing who to believe. Martin Williams, the critic, lobbied the Termini brothers to book Ornette at the Five Spot. Miles reaction to Ornette was,"Hell, just listen to what he writes and how he plays. If you're you're talking psychologically, the man is all screwed up inside." Other sources have Miles putting it more pungently, according to the book. Ornette and Cherry didn't like Red Mitchel's playing, because he was doing what a bass player should do; outlining the chords. Percy Heath understood that, and tried to play more abstract bass lines that wouldn't involve the root as much as Mitchell did. Miles was a little easier on Ornette later saying, "I just didn't like what he and Cherry were playing, especially Cherry on hat little horn he had. It just looked to me like he was playing a lot of notes and looking real serious , and people went for that because people will go for anything they don't understand if its got enough hype. They want to be hip, want always to be in on the new thing, so they don't look unhip. White people are especially like that, particularly when a black person is doing something they don't understand". One friend of mine said he felt like he was at a funeral when he saw the MJQ play.

Yeah, he starts off with that burning, driving, articulation, sound and rhythm that first attracted me to his playing, like on"Spaces", and then it's like another guy like Hendrix came in pushed him off his chair, and started freaking out with distortion, playing a different style. Maybe he was just possessed, and needed an exorcism or something. He did stuff like that on the "Fairyland" album, but more organically.

They didn't like the way Red Mitchell was playing on Torrorow is the Question, so Ornette and Cherry went to the Black Hawk where Percy Heath was playing with the MJQ. Lewis let them sit in, and flipped out over OC and DC, and they got Percy for the album. Lewis recommended them to Ertegun for Atlantic. Kenny Clarke told Loren Schoenberg that he left the MJQ, because "John Lewis hated Jazz"

I took "3 Shades of Blue" out from the library, and just finished it. The author had little knowledge about jazz until he was assigned to do an interview with Miles Davis for Vanity Fair in 1989. All he knew about Miles was that he had played with Bird in the 40s. The author, James Kaplan, had two Miles albums in his (mostly rock) record collection, Bitches Brew and Filles de Kilimanjaro, so don't expect an expert's book Basically, it's a bio of Trane ,Miles and Evans. and how they came together in 1958-9, and what happened to them until their dying days. It's written for the general public so maybe it will get some people interested in post Swing jazz who never were into it. It only spends eighteen pages on Kind of Blue, so I think people were misled to think it was only about that album. Most of the technical parts on jazz were quoted from interviews with musicians, and the well-known bios of the three musicians it centered on, but there was a lot of stuuff about Monk, Diz, Max, etc...There was confirmation of stories that you might have thought were rumors-e.g. Miles did tell Bill Evans he had to f*** all the members of the band, not give them blow jobs. Evans had to think for 30 minutes before telling Miles that he didn't think he could do it, and they all laughed their heads off at him!LOL. There are a lot of inside views of things from musicians that I never heard before e.g. John Lewis was behind getting Ornette and Cherry to The Lennox School of Jazz, and got Nesuhi Ertegun to pay for their airfare and tuition to raise their profile on the East Coast. Max Roach did indeed knock out Ornette with one punch, but he didn't beat him up at Ornette's hotel afterwards. He just yelled at him from outside the hotel that he was gonna beat his ass in if he came out of his hotel room Miles hated Ornette's playing up till the end, and. Coltrane did indeed use LSD at the end of his life. Sonny went to the bridge to simply get his playing together, and Trane was a close friend of his, not a rival. Miles' penchant for lying is taken into account, and everything he says is investigated with that in mind, although his claim to writing Donna Lee is not questioned at all. So I'd recommend this book as a fun read for anyone interested in learning more about these three dudes and everyone they played with. The profound insights only come from the musicians interviewed; not from Kaplan.

I remember reading a story about him in a bio I read a long time ago . Someone happened to be on the same plane he was on while he was on the way to some long flight to a third world country to do a shoot. The person was amazed to see Corman seated in the third class section, surrounded by very bad conditions. His friend said to him, "Roger, what are you doing sitting back here?" He answered, "Just trying to save a buck." If one of his films got finished early, he was famous for immediately filming another entire movie using the same actors, set and crew for a huge discount on all three; even if no one knew they were making two movies back to back!