sgcim

I've only heard this vocalist on one LP, David Amram's LP from the 1970s, "No More Walls", and she seems to have disappeared from the face of the earth. Does anyone have any info on her other than the Amram LP?

The Stagg A350LH-n violin burst doesn't look like that bad of a guitar for the price. There's one online for only $149- do a search. I don't know if that includes a case. There's a Russian guy playing one on youtube that sounds kind of trebly, but you could adjust the tone control. It plays in tune up on the neck, and has nice sustain for a cheap guitar. If you want a lefty archtop in the $300- $500 range that is more well-known, you could look for a used Ibanez AFJ-85, 91, or 105. Also the Epiphone Joe Pass Emperor can be a decent guitar if you get a little work done on it. Samick made a decent, cheap lefty archtop that you might be able to find on ebay. You could play jazz on a solid body if you have a Roland Cube amp. I played on an LP that was reviewed in Downbeat with a Hondo Strat copy that only cost $100 new.

They all use monitors because they have a sound man that controls everything you hear in the audience I can't stand that BS, because everything is up to the sound man. I did a SAG production of 'Smokey Joe's Cafe', and the contractor complained that he could only hear me on my solos. It turned out the chick who was doing the sound at the theater (she went to college for sound production ) decided that was how she thought it should sound. After the three month run, I never worked for that theater again. Phil Woods got so sick of that BS, that he refused to use mics for his group for years.

Never heard of them. Do you want a lefty for rock or jazz? How much are you willing to spend?

The answer is somewhere in here: http://eatingacademy.com/personal/idea Search the blog.

Thank you, let me explain. I posted this in the musician's forum. I am asking working musicians, either professional or semi-professional, if they notice a difference between how their older peers and younger peers approach group dynamics. There will of course be outliers in either category. I am curious if -in general - huge PA systems, amplifiers, rock-era aesthetics, louder instruments, and any combination of these may (or may not) affect how musicians of different age groups approach group dynamics. If I did not articulate this well enough in my original post, kindly attribute this to my limitations as a writer. I was talking with a younger trumpet player about this after a gig recently. He was putting down an older trumpet player, because he thought the older guy played too loud. I told him that he played loud because the band wasn't using mics, and that up front where I was set up, he was the only trumpet player in the section I could hear when there was a trumpet solo. The younger guys are used to playing with mics, so they don't work on projecting their sound like the older musicians did. I was surprised hear from a trombone player that Bill Watrous couldn't be heard without a mic. As far as rock cats are concerned, they have such powerful pickups, pre-amps, amps, pedals, and mics that they play through powerful PA systems, that they literally couldn't play quietly if their lives depended on it. I subbed for a rock/fusion player on a musical with an orchestra, and I sat there in disbelief as this dim-wit drowned out the entire string section. When I did the gig, I blended nicely with the strings, and the conductor and musicians appreciated it. OTOH, if I were to sub for him with his rock band, they'd probably laugh me off the stand, because I don't have powerful enough gear to be able to cut through the loudness of the rock band.

Kenny's a great musician- he doesn't count...

People have been conditioned to think that louder = better.

Thanks! I went to her estate sale over the summer in Port Washington, and came out with a very rare Herb Ellis LP. The rumors that I also bought a number of her dresses was untrue; probably started by a number of my enemies trying to destroy my street cred.... A sax player friend of mine, Jimmy Miller, bought her huge, tape deck. and needed help carrying it to his car. He was ecstatic about the sound of it. RIP MM

Looks like he got more than just hip voicings from Bill Evans... He used to be in the same chant group as one of my student's parents.

No, as usual, it's her word against reality, and she usually lost in that regard. I'll delete the post, but she was a cop/jazz musician back then, so maybe she had some inside knowledge. She woke up one morning to find the pianist in the band dead next to her of an OD of coke and methadone, so we're treading in some dark, murky waters here...

I've been looking for this film for a long time, and found it on youtube. I love watching these gritty, B&W films made in the 50s and 60s about jazz musicians, because they usually deliver a more authentic representation of the jazz scene than atrocities like "Lady Sings The Blues, "Bird", and the soon to be released, "Wynton- How I Invented Jazz". Sweet Love, Bittersweet (1967) is about as real as it can get, with Dick Gregory portraying a Charlie Parker-like alto saxophonist named Richie Stokes, nicknamed 'Eagle', who is befriended by a white, unemployed college professor (played by Don Murray) and put up by an adoring black friend (Robert Hooks' film debut). Out of any jazz film I've seen, it's the only one that makes no attempt to pander to any Hollywood formula whatsoever, and sometimes seems like just a bunch of short segments, rather than a similar narrative like "Round Midnight", which it obviously influenced. The soundtrack is similarly as anti-Hollywood as it can get, with some great tunes written by Mal Waldron, and featuring: Mal Waldron — piano Dave Burns — trumpet George Coleman — tenor saxophone, alto saxophone Charles Davis — baritone saxophone Richard Davis (tracks 1 & 4) George Duvivier (tracks 2, 3 & 5-13) — bass Al Dreares — drums according to Wiki. I read some of the few reviews on the IMDB, and someone claims that Chas. MacPherson plays the alto parts, but i suspect they might have gotten it confused with "Bird". We couldn't figure out which city it was filmed in, but it was supposed to be NYC (with one stock footage scene of Columbus Circle). However, when I checked the IMDB, it turned out to be Philly. Check this out for the great music, and if you're a fan of esoterica.

Actors- Pier Angeli, Jean Seberg(?), Peter Duel, Inger Stevens, Brittany Murphy, Spalding Gray, Marilyn Monroe(?) Musicians- Nick Drake, Judee Sill, Elliot Smith, Roy Buchanan, Phil Ochs, Danny Gatton, G. G. Allin, Mike Bloomfield(?), Tommy Boyce, Bob Grattinger, Sonny criss, Donny hathaway

I read some of Crow's other reviews, and he seems to complain about many players; Pepper Adams 'unbearable sound on sustained notes', Johnny Griffin's,'pinched sound', Oscar Pettiford's playing, and many others. I'm glad he got a taste of his own medicine when Chuck Israels reviewed a record he played on, and found Crow's rhythm section playing severely lacking. Bill Evans' letter also expressed puzzlement over his negativity about Scott, and Crow's review of the Metronome Encyclopedia. Scott could be obnoxious when he got carried away on some of his recorded jam sessions, but he sounded fine on many of his studio LPs. Maybe Crow had a bad day at his job at Local 802, or someone turned down his Jazz Anecdotes book...

Another of the greats has passed. RIP, Buddy.

Cool picture. I never knew about the Avengers or 'Vance Arnold'. I've been reading a few books about the history of UK rock music of the 60s, and the strong tie-in with jazz. Many of them started off as jazzers (Jack Bruce, Ginger Baker, Graham Bond, etc...), and then switched to rock when they realized they had to pay bills. The others (Eric Clapton, Jimmy Page) hated jazz, and were more devoted to blues. Joe Cocker and Stevie Winwood were solidly in the 'Brother Ray' bag. RIP, Joe/Vance.

The only chart I remember by GM for for Mulligan's band was "Willie", written for that trombone player he used to play with. When I used to gig with Joe Cocuzzo, he said GM used to write each part especially for the player, and would even write the player's name on each part. On the LP GM did with Bill Evans, Evans was going through some dope issues, and didn't prepare at all for the album. He wound up sight reading, and sight improvising the entire session. I'm still waiting for word on the McFarland documentary...

Yes. Self disqualifying. That's funny. I was at the library when I stumbled on that article in a collection of what I could have sworn was a huge book of the collected writings of Balliet.

For further reading on this, read Whitney Balliet's essay, "On The Corner- Miles Davis Sells Out"- it's merciless!

I can definitely relate to some of the comments made about Trane's playing not fitting the group or the songs after a certain period. I heard one live date on KCR where I wanted to shut the radio off after hearing Trane mangle the changes and mood of the song, but then thank God, Cannonball brought things back to the real shit.

I posted a link to this on a jazz guitar forum, and got yelled at by some dude who thinks that it should be taken off of youtube, because Grant Green Jr. isn't getting any money from it. He said there's a video of it that's being sold somewhere. There has never been a lack of moral indignation on internet forums...

There are a lot of great guitarists that never used their pinky that much; Kenny Burrell, Wes, Jimmy raney, George Benson, Chris Flory and Peter Bernstein, who Peter Leitch thinks is so Grant Green influenced that he calls him Peter 'Green'stein.

Thanks for the opportunity to donate money to one of the most wonderful musicians and human beings that ever lived.

Wow, thanks!

I didn't like "California, Here I Come" either, and the Turn Out the Stars sessions were bootleg recordings that had inferior sound recording. Why anyone would bother to listen to or criticize them is beyond me. As I said before, to characterize BE's recorded output as erratic because of poorly recorded bootleg albums made when he was at death's door is not even worth commenting on... As I'm sure you know, the "Turn Out the Stars" set was lavished with praise when it came out. Also, it was not a bootleg I'm pretty sure ("original sessions produced by Helen Keane," it says in the booklet) and was professionally recorded by Malcolm Addey. You and I both think that BE often is in harried form there, but we're apparently in the minority. OTOH, much though TOTS makes my teeth grind, I find that BE is in quite good form for his latter days on much of "The Last Waltz" -- performances that were dubbed off the mixing board at the Keystone Korner by Todd Barkan and that took place much closer to the very end (8/31-9/8 '80) than what's on TOTS (6/4-6/8 '80). (BE died 9/15 '80). When I first heard TLW, I expected the worst; its virtues were a surprise. I call any recording of BE that he didn't approve, bootleg, and I've never listened to TOTS so I shouldn't have commented on the recording quality. Helen Keane was both a curse and a blessing for BE; while she made his music available to a wider audience and took care of ALL of the business aspects of his career, she wasn't a musician, and shouldn't have made every decision for him. i think he did veer off from his original direction on the "New Jazz Conceptions" due to her, but without her, he might have wound up as a violinist who worked with him back then found him: banging his head on the piano because he was so disgusted with the wedding gig he was playing! Helene Keane became BE's personal manager in 1962 -- by that time "New Jazz Conceptions" and the the style associated with it were distant specks in the rearview mirror. Heck, by that time, the music of the LaFaro-Motian Village Vanguard trio also was a thing of the past. Wow, I didn't think it was as late as 1962. That explains a lot. As much as I like Tony Bennett, pairing BE and TB was not my idea of a good fit. I'm glad he's hooked up with Lady Gaga now. I hope they'll be very happy together...