sgcim

Obscure singer/songwriter from early 70s, who was the first artist David Geffen signed for Asylum Records. http://www.bbc.co.uk/programmes/b04g8hrd

I don't know if he grew up in Brooklyn, but he played there back in the 70s with some musicians I used to know. They talked about how he'd do some wedding gigs with rhythm sections that didn't know tunes like "ATTYA", and he'd be able to blow on it using only one hand, and with the other hand he'd signal the chord changes (one finger= F, two fingers= Bb, etc...)! One of the first LPs he played on was a Trane type quartet led by a pianist from Philly named Kenny Gill. I think the LP was called "What Was, What Is, What Will Be". Gill OD'd in his 30s. I saw BB at the Jazz Forum in the quintet that he co-led with Tom Harrell back in the 80s. They were playing some great high-energy stuff with the great pianist Armen Donelian. The only thing I didn't like about BB was his tendency IMHO to overplay on ballads, but his you couldn't touch him on fast, high-energy things.

Westbury, NY.

http://www.northcoastbrewing.com/beer-brotherThelonious.htm

Very sad to hear. I loved his work on Michael Franks' "The Art of Tea" RIP, Mr. Sample.

I used to play with a pianist/arranger, Mike Alterman, who was DW's manager and accompanist just before she hit it big. She left him for Burt and Hal, and the rest is history. Mike was the pianist with Woody Herman on the "East Meets West" LP, and spent eight traumatizing months on the road with Chet Baker back in the 60s.

Yet I've tried other Brazilian vocalists looking for the same fix I get from AG, but it's not there. Almost all of the time, she chooses nice tunes, even the non-Brazilian ones, that work perfect for her voice. She sang the shit out of an obscure Harry Nilsson tune that no one else has ever recorded. There have been many other female vocalists who have tried to sing in her bag, but none have come close, even Sade, IMHO. It's like Sinatra...

I don't know why they have to build the whole thing around his relationship with da little white boy; he's not even a trumpet player. Seems like they're trying to make a tear jerker out of it. CT's life (if they based it on his autobiography) should be more than enough. BTW, Clark's buddy, Phil Woods, has an unpublished autobiography that I'd do anything to read. Here's a pretty long excerpt: http://jazzprofiles.blogspot.com/2014/08/a-chapter-from-phil-woods-my-life-in-e.html?m=1

#2 just sounds like PM trying to blow on ATTYA or maybe some other standard.

Schoenberg never wrote a Hollywood film score, although they begged him and Stravinsky to write one.I forget the story of why AS didn't do it, but as I recall it was pretty funny. Herrmann never studied with Schoenberg! I don't know where that article got that from... Raksin definitely did study with him, and used a twelve tone sequence for the confrontation with Donald Pleasance scene in "Will Penny"(probably the best place for serial music IMHO ). I'm doing an all-Raksin gig sometime in Sept. Once I hit the lotto I'll make my all-Raksin CD.

Yeah, that's the bio I mentioned in my post. It offered a good understanding of what Buckley was all about from someone who worked with him for many years. The thing I remembered most about it was the time that he and TB were playing a concert that featured Jimi Hendrix as the opening act. As most jazz guitarists did back then (me included), he wrote him off as just another loud, out of tune, pentatonic wanker. Later on, he said that he realized Jimi's true genius.

Yeah, I heard her music before I heard her story, and I knew there was something there. She was the first artist David Geffen signed for his record label, Asylum Records, and things looked good for her, but she didn't like the way Geffen was sending her out as a solo,opening act for some of the big rock groups back then, and they had a big blow out over it. She outed him at a concert interview (she called him a fat, little fag), and this was the early 70s- way before he was ready to come out of the closet. He pulled all publicity from her second LP, and it sunk like a rock. It's rumored Geffen got her blackballed from any of the big record companies after he dropped her from Asylum, and that was it for her career.

Yeah, tht's him. He was in the country/rock band Joyous Noise (two LPs), as well as Spanky & Our Gang, and played on Ron Elliot's (Beau Brummels) "Candlestickmaker" album. He recorded a solo album, "Songs For Old Ladies and Babies" for Capitol in 1972. His sister, Vicky McClure (now Vicky Doney) recently recorded an album with Phil Woods. All those people were involved with Judee Sill, one of my faves.

I think I should've titled this 'popular' thread, "Rochberg's Critique of the Strict Twelve-Tone Method of Composition", rather than a critique of Schoenberg, whose music and genius Rochberg greatly admired....

At a time when I was interested in the folk/jazz connection in the 1960s, I read the bio on TB, which I enjoyed a lot. TB was fiercely anti-commercial, and used jazz-oriented guitarists, Underwood and Art Johnson, rather than the hokey players the other folkies used. I exchanged emails with Art Johnson about his involvement with Buckley, and Judee Sill, and discovered a jazz underground in LA that consisted of players like Tommy Peltier, Lynn Blessing, Marc McClure, Denis Del Guidice and Bill Plummer, who fused folk/rock and jazz in a subtler way than the more well-known examples of that fusion. While I appreciated the fact that he incorporated improvisation into his later music (and later, funk!), I still prefer the Happy/Sad, Hello/Goodbye tunes

No Arnold, you shan't have the last word. You were truly a master, but you sought to reduce music to an aurally meaningless mathematical formula consisting of twelve-tone rows, in which no note could be repeated until the row had been stated. Though you composed master works outside of the twelve-tone system, you and no one else composed a master work using the STRICT, serial system. Praise free atonality, but the twelve-tone enslavement is over! Adrian Leverkuhn

I recently read "Straight Life", and found it to be one of the most honest jazz autobios ever written. Art and Laurie, maybe due to their Synanon training, didn't whitewash anything. I just finished "Raise Up Off Me", which was also great, but maybe HH needed someone like Laurie rather than Don Asher to get more in depth. Happy B'day!

Yes, the way Sal integrated his solos so well in each arrangement is amazing; no matter what the tempo was. Jake Hanna and the bass player propel the band effortlessly, and every member of the band swung like nobody's business.

Although no one can replace Sinatra, I've had the pleasure of working with a vocalist/trumpet player who did just that with the Tommy Dorsey band. Check him out:

RIP, Frankie. I'm sorry to say, but the most vivid memory concerning FD (I never met him) was a story a pianist I knew told me about FD touring with Astrud Gilberto. Suffice it to say that it ended with FD exclaiming in rapture, "The golden showers! The golden showers!"

There are so many articles on this subject, it's difficult to just choose one, but here's one i found (though it's not the one I mentioned): http://www.nytimes.com/1996/03/10/arts/classical-view-how-talented-composers-become-useless.html?module=Search&mabReward=relbias%3Ar

If we're getting anecdotal here, there's always the story about Leonard Bernstein walking into a big meeting of twelve-tone composers, and going immediately over to the piano, and playing "Happy Birthday" in the various forms 12-tone composers use to develop their themes; retrograde, inversion, retrograde inversion... He then asked if any of them could identify it. Not one of them could...

"We do not, cannot, begin all over again. In each generation because the past is indelibly printed on our central nervous systems. Each of us is part of a vast physical, mental, spritual web of previous lives, existences, modes of thoughts, behaviors and perceptions of actions and feelings reaching much further back than what we call history" - GEORGE ROCHBERG (Don Sebesky quoting Rochberg)

Yeah, I didn't have the heart to ask him why a tune he claimed he wrote sounded suspiciously like a tune I heard on an obscure musicians album...