Free For All

Actually, Rooster, what I meant by "the sometimes stagnant world of changes" didn't refer to the number or frequency of chords in a given tune, but more the type of playing where one just incessantly "runs the changes", which often results, IMHO, in less interesting listening. This can happen in modal (less harmonically "busy") tunes as well as more complex bop-type tunes. I think THAT is the complaint many have w/bebop- the solos are often mechanical and workmanlike, lacking in melodic content or rhythmic variation. Obviously, bop heavies like Bird were exceptions to this, although I've heard recordings of even the big stars who seemed to be "phoning it in" at times. Don't get me wrong- I'm a big bop fan and some of the most important development in my own playing came about from a summer long ago I spent playing w/the Bird play-along. The heads are like jazz etudes and dealing with the changes led to some harmonic revelations to be sure. Bebop was "music for musicians" to a great extent, a huge contrast to the Swing era styles, and alienated the audiences to a degree by excluding them from the "inner circle". As I've said before, I think it's important to have a balance of "entertainment' and "education" in any performance. I think there has to be an element of accessibility to "pull the audience in" that co-exists with the spirit of exploration which serves to artistically satisfy the players. Of course, things that fall into the "accessible" category certainly don't have to be void of artistic satisfaction. Connecting w/an audience is obviously a HUGE source of inspiration- I just think that once you establish a level of "trust" you can slip in something maybe they haven't heard before and they might be more inclined to listen with an open mind and open ears.

Learning tunes in all keys is one of those things that we are told we "should" do. I certainly don't obsess on it, but I do enjoy playing tunes, esp. familiar ones, in alternative keys. It can be as simple as splitting the tune in half, like Bill Evans did with Days of Wine and Roses, doing the tune in F and Ab. Or you can alternate keys for the whole chorus- I sometimes play My Shining Hour by alternating the keys of C and Eb each chorus. Or you could do a pattern like C-Eb-Ab-Db, or whatever you like! One issue with this is communicating your intentions to the rhythm section, since part of the fun in doing this is the element of spontaneity. Or you can simply plan it out in advance. Sometimes (as I said before) I'll simply play with the drummer alone for a while so I can create my own little harmonic world. That's what I envy about pianists- they can compliment their solo lines with the perfect accompanimental choices. Think about it-when a pianist solos, he's playing only w/bass and drums; you see why horn players like to do that sometimes? Of course when you develop an affinity with a rhythm section they can learn to read your mind, which is often a beautiful thing. Sometimes not.... When I practice in other keys I feel the rewards exist on multiple levels- I feel like the original key has a new clarity for me, and finesse in multple keys certainly comes in handy when employing substitute changes or chromatic side-slipping. I'm so tired of playing Rhythm changes in Bb- this of course is my problem and not a fault with the music. But it IS fun to play in some other keys- I like F, Ab or Eb, for starters. I also think you can divide tunes into phrases- for example you can play pretty much whatever you'd like on the A section of a Rhythm changes as long as you create some sort of rhythmic or harmonic cadence to seperate the sections. Or you could "take it out" all the way to the bridge. It's just the concept or tension-and-release. For me, too much tension w/o release gets as tiresome as too much consonance- everyone has their own threshold regarding this area. I also like it when rhythm sections "pedal" (usually on the V) on the A section of Rhythm tunes- it gets away from the repetative cycle of chords, and when you return to the changes they are fresher sounding. While none of these things are earth-shaking revelations by any means, they ARE some little things that help to create at least a little variation in the sometimes stagnant world of changes.

Wow! Instant Sun Ra collection!

I'm a big fan of EW&F. It was horn bands like them as well as Chicago, The Crusaders, Tower of Power and BS&T that started me down the path to jazz in the 70s. My favorite recording would have to be All 'N All. Fantasy, Serpentine Fire as well as tunes from other recordings including That's The Way Of The World, Getaway, Shining Star are all favorites. The Greatest Hits CD (cranked, of course) was a party favorite back in the 80s. I hear their live show is awesome. I've not seen them live but I'm sure you'll have a good time ss1- let us know how it was!

Once when I was in grad school I was practicing with a play-along CD and noticed my roomate's cocker spaniel was sitting in the doorway, apparently listening. I continued playing and when I looked again the dog was gone but he had left a steaming little pile on the carpet. Everybody's a critic..............

Bob Brookmeyer & Kenny Wheeler "Island" w/John Hollenbeck (drums), Jeremy Allen (bass) and Frank Carlberg (piano) (this includes a DVD with interviews, a documentary of the session and downloadable music- I haven't checked it out yet, but the music is great!) Hank Jones "The Definitive Black and Blue Sessions" w/George Duvivier and Oliver Jackson Michel Pettruciani Trio "Live At The Vanguard" w/Palle Danielsson and Eliot Zigmund Both trio sides are excellent. All good purchases.

Damn! If only I'd have played just a little better!

Woody was always pro-education, he loved to mix it up w/the young players. That certainly makes sense considering the way he raided the various college jazz programs to find players. I think Stan Kenton was maybe one of the first big band leaders to really push the clinic thing. I certainly was influenced by the accessibility of the Woody guys, especially of the 70s era. I remember going back to my high school and talking of the various big band guys as if they were rock stars (they were to me). I couldn't wait to experience the "glamour" (the "U" is in respect of my UK trip) of the road.

Well, Big Wheel, I was more or less talking about the harmonic content, but you are absolutely right, I can see where the groove can get repetitious. I know sometimes rhythym sections will go into a walking swing groove on this tune, but there must be more options than that. I always am happy when a drummer playing this type of groove gets interactive and plays more soloistically than repetatively- know what I mean? Actually what you said brings up a good point- playing on a tune like St. Thomas should be about more than changes/bop playing- the rhythmic content should be just as important. I'm not citing this tune as a example of an ultimate improvisational vehicle (in Missouri that word is Vee-Hickle) but more a tune that is simplistic harmonically and requires somes creativity to keep interesting. BTW, Big Wheel, what instrument do you play? Try playing St. Thomas in a whole buncha keys. I thought that was a fun thing. Try modulating chromatically, by fourths and by random key changes. That's what breathed new life into the tune for me. But I'm an idiot who's easily entertained- your mileage may vary. B)

Sometimes when a tune is called that I'm bored with I'll try to think of a way to do something different. Recently I had to play on St. Thomas, a great tune but after 2-3 solos there's not much to say (unless you're Sonny, which I'm not). So I had the bass and piano cut out and played several choruses w/just the drummer, changing keys each chorus. That was fun (on a couple of the key changes I kicked my own ass) and it just goes to show that you can find something new to do on any tune.

Actually, Rooster (BTW, you said you were crashing and yet it's 2AM and here you are! You are a hanger!), there's a reharmonized version of Autumn Leaves that has some cool chromatic ii/Vs in the first eight bars (those of you that know what I'm talking about, please step in) that make it a whole new tune. Please understand I'm with you on this "tired Real Book Tunes" subject, but for many of the examples you cite, I can think of a recording that breathes life into the tune, and I will be happy to make you a CDR of all the tunes you despise, being played with conviction and inspiration. As I said, I just think of this as a lack of inspiration on the part of the player, as opposed to an inherent tune weakness.

I tend to be of the type who says "it's the player, not the tune". I know of specific tunes I'll avoid calling because I'm tired of them, not because it's a lame tune but because my creative well is currently dry regarding that specific tune. Then I'll listen to Miles or Sonny or someone tear it up and think "now why couldn't I do that?". Every time I swear I'll NEVER play something like "Funny Valentine" I hear some recording that kicks my ass. I think if you can call a tune that's overplayed with the intention of resurrecting it and even partially succeed, well, then you're doing something right. That being said, if I NEVER play "Another You" again it won't break my heart........

My ass was on fire the last time I hit the Anchor Bar in Buffalo for some hot wings (but that's another story....) Great to hear about Arno, thanks. I think it's amazing Frank Tiberi is near that age and still is playing like a kid who doesn't know no better. God bless these guys, they're disappearing too fast!

I've never met Arno, Jim, but I sure know who he is! How's he doing? I know the music scene in Vegas has really dried up. I was out there about a year ago to visit Carl Fontana, who is battling Alzheimer's. Man, Vegas has sure changed since I played there with the band. Now it's like a Disneyland for gamblers. Bring the family, lose the farm.......

Oh, I was TOTALLY in the minority, so much so that there was no negative vibe at all. We played funky clubs in East St. Louis, south side Chicago, Memphis, Dayton; I was the only white guy in the group and I had the time of my life! I remember many of my jazz heroes talking about paying dues on blues bands, so when I got the opportunity I grabbed it. Living in Iowa and culture-starved, I guess. The only downside was that being a horn player in a blues band you were relegated to riffs and not much soloing, but I really dug listening to Albert every night. I just recently bought a copy of "Born Under A Bad Sign" in a fit of nostalgia. I didn't realize 'til later just how heavy he was. Plus I learned to blow in the keys of E, B, A, D, etc......................

Just FYI, here's a partial list of people I've gotten to meet/play with as a result of being a member of Woody's band: Al Cohn Bill Perkins Zoot Sims Billy Mitchell Clark Terry Dizzy Gillespie Billy Eckstein Tony Bennett Nancy Wilson Cab Calloway Joe Williams Mel Torme Maynard Ferguson Benny Carter Pepper Adams Jake Hanna Carl Fontana Conte and Pete Candoli Louie Bellson Jack Lemmon (sitting in on piano!) and more I'll probably think of....... Please understand, I'm not bragging, but am extremely grateful for my opportunities!! So many of these cats are gone now, I really cherish these experiences. If you want to know something REALLY bizarre, my first road gig was a brief stint with Albert King! For a kid from Iowa, this was REALLY culture shock!

VERY old!!

My complaint with this is the use of the word "transitioned". The last time I checked, this word was a noun and not a verb. I've recently heard it used as a verb a lot i.e., "The regime in Iraq has transitioned to a new era." I'm not someone who obsesses over language abuse or spelling, but sometimes the lack of language skills (in the media especially) makes me go NUCULAR, IRREGARDLESS of context!!!!

Thank you, catesta. It also works well as a coaster, or if you have a wobbly table.............

Hi Rooster- No, I didn't make it to the Victoria and Albert museum but we did stop at Stonehenge (insert Spinal Tap jokes here). Yes, mostly non-British ethnic food (except for fish and chips, of course) is the way to go. I've never been able to figure out that whole "blood sausage" thing. We stayed at a hotel right across from Chinatown, so great meals were not a problem. Some great Indian and Italian near the club, too. Did you go to Ray's when you were there? I don't think the latest incarnation is as hip. Where the hell did that picture come from??? It's from a jazz camp I do in Wisconsin. Beside me in the section is trombonist Steve Weist and the shaved-headed guy is Chicago saxophonist (now relocated to New Orleans) Ed Peterson. I don't know if this "coming out" was such a good idea.........

Gulp.......yeah...that CD was, among other things, my opportunity to record with my hero, the great Carl Fontana. Lovely picture, too. I feel so naked..........but buy the CD anyway!!

OK, I guess I'll come out. I am an anonymous trombonist by the name of Paul McKee. I was over there playing w/the Woody Herman band- I first played with them in 1984 when Woody was still fronting the group. Now Frank Tiberi fronts the band (which I guess you'd have to call a "ghost band", a term I hate). Frank Tiberi is an amazing musican who, in his mid 70s, is continuing to play his ass off. Back when I joined in 1984, the band was out on the road an average of 46 or so weeks a year- it's much more of a part-time gig now, but the standards of quality have not changed. It's an honor to play with some of the greatest players I know in this band. Plus, I've had some AMAZING "brushes w/greatness" by being a member. Like the membership of this and the defunct BNBB, it's one of the greatest dysfunctional families to be associated with. There, I came out. Be kind.

I just returned from a couple weeks in Europe. We played a week at Ronnie Scott's and a couple other gigs. Here are some observations.... RONNIE'S A great jazz club. Smelly and smoky and very hip, it's the Village Vanguard of the UK. BEER UK wins, hand down. The cascading bubbles in the glass almost bring tears to my eyes. ICE CUBES US wins, hands down. You'd think they were made of platinum the way they dole 'em out. I'd like my Coke cold, please! WASH CLOTHS US wins. None to be found in Europe. BACON US wins. It's bacon, not HAM. And cook it all the way through, please. JAZZ AUDIENCES UK (and Europe) wins, I'm sorry to say. They are more attentive and appreciative IN GENERAL. Of course, a loud drunk English guy is very entertaining. AIR CONDITIONING US, but to be fair, it was unseasonably HOT HOT HOT over there. But to stay in a hotel (or ride a bus) w/no air is a miserable experience. Yes, we Americans are spoiled babies much of the time. BRUSH WITH GREATNESS We followed Micheal Brecker at the Brecon Jazz Fest. and got to hang w/him backstage. He had Joey Caldarazzo, Jeff Watts and....I can't remember the bass player. James Genus, maybe? Or maybe it was Anthony Cox. They sounded great at the HOTTEST stage (temperature-wise) I've ever played on. The most interesting thing that happened, though was at Ronnie's. Kevin Spacey, of all people, came to the gig on multiple nights and actually hung with the band between sets. Most surprisingly he SAT IN with the band on a tune. He can actually sing! He was over there prepping for a movie he's producing, directing and starring in about Bobby Darrin. (No, he didn't sing Mack The Knife, thank God). He was very cool to talk to, not pretentious at all but very normal and quite a jazz fan. Another time at Ronnie's I met Kenny Baker, the diminutive jazz fan who was inside R2-D2 in the Star Wars movies. Finally, I had heard that the Tower Records in London had closed. I thought this was the one I frequented (the one in Piccadilly) but I was happy to see it still there and doing fine. I guess there's another "Tower of London". I should check it out sometime. Also checked out Virgin and Ray's. No major finds, though. Seriously, I love going over there and have made many good friends and intend no offense to our UK friends. If you can avoid getting run over (drive on the right side, already!!) it's a great (but EXPENSIVE) hang. Plus it's about the only place in the world where they don't hate us.

Having just returned from a trip to the UK I can offer my input to this topic. I've flown w/my axe many times and have had NO problem (with one exception) carrying it on, but the with the current changes in checking and carry-on guidelines (a result of the troubled airlines wringing more money out of our pockets) these already confused policies have decended even further into total chaos. The main problem to me lies with the enforcement of these policies- I called three times before my trip and got three different interpretations of airline policy. Add to that the chance that the person you check in with is similarly uninformed, and also that you are at the mercy of the person at the gate and you have the fixin's for a lovely trip. I have recently stopped trying to carry on my horn- it does fit into just about any overhead, but lately it seems that I'm flying more frequently on those small commuter "puddle jumpers" that often have NO overhead storage. You can "gate check" your instrument which circumvents the trip through the baggage transport system, but you still have the possibility of damage from the instrument bouncing around in the hold. I recently purchased an SKB hard plastic case made to transport golf clubs- my gig bag fits nicely inside and it seems to offer decent protection. Often people assume that I am carrying golf clubs and ask what my handicap is, to which I respond "Giant Steps" and receive a blank stare. Of course, once you check your instrument there is a reasonable chance you will never see it again. Once in my more naive years I was talked into checking my horn in the soft case ("Oh, don't worry, we'll take SPECIAL care of it!") Needless to say not only did they lose it for several days, when it did arrive it was demolished in prime Looney Tunes fashion. And of course I had to sign a waiver that released the airline from any responsibility. Yeah, I learned my lesson. The latest restrictions apply to weight AND dimensions, but I did find out that there were exceptions for musical instruments. When I checked in for this latest trip I had to insist that the agent look up this info- they really seem to hate to do that. He found what I was waiting for and PRINTED OUT A HARD COPY for me, which turned out to be gold- I used it several times, and it saved many hassles. I have also found it does no good to "go off" on the agent when facing travel problems- they are but a pawn of the company, and most often respond better to a cooperative vibe than rage. Sometimes, however, a controlled "tantrum" at the gate works wonders. They usually don't want to spend time dealing with you and will let you by. That's a little riskier these days, though , with all the current paranoia. At least I didn't have to fly back through NY or any of the affected blackout cities- I know some of my bandmates from NYC got TOTALLY screwed.

That's what I mean when I refer to it as "happy"- it doesn't really have the dark, probing moodiness of later stuff. It's more like a walk in the park on a sunny day, IMHO. Jim Sangrey mentioned how the 65-68 stuff made the first quintet sound tame by comparison. I think that's the problem with these major periods of Miles career- each new chapter tends to steal the spotlight from the previous chapter. Of course, had there never been a Coltrane quintet or Blackhawk quintet there might have been a completely different 65-68 quintet. I try to appreciate each of these sets on their own merit instead of comparing them to each other. It's like saying "who was better, Wayne or Trane?"- I don't think Wayne would have been the same kind of player had there never been a Coltrane. Each new branch on the big tree is fed by the branch it sprouts from, even though it might have a prettier flower.