SGUD missile

I just caught up to this forum since it moved from the Blue Note board. I'm glad to see Jim is still participating. Jim I think what you say is so true. The isolation is a mere technical convenience without a musical purpose, and in most cases, it sucks the life out of the music. Our cats spend night after night standing next to each other on the bandstand making great music. Why would I want to change that when I take them into a studio? Putting musicians into isolation booths reminds me of 1950s behavioral psych experiments. People play as though they knew they could do it again. The real drama comes partly from knowing the musician is vulnerable and risking it all. Our current "big vocal record" was recorded by Baker for me at Avatar A. Singer plus octet. A dozen ribbon mikes and the art of the null plane. All full band takes, mixed live to stereo by Baker. Mixing on the Neve, he looked like he was conducting an orchestra himself, and that's how I'll remember him. Luke All the above is the downside of the improvements in recording techonology over the years since multi track regarding began in the 60s. The isolation , overdubbing, and all the other innovations have created a very lackadaisical attituted among studio musicians of the later generations. Since they KNOW they can fix the flubs, the "hands" come up every few bars for a fix. It's not that they CAN'T play it right through ..they know they dont have to anymore, hence the concentration factor is gone. When I recorded my big band CD in 2004 I did it basically live, and I made it a point to make sure to let all involved know we were gonna go for complete takes ( or at the most and intercut pickup like the old "live to 2 track " days. The band really got into it, and most everything was done in two or three takes ( in some cases ,a single take and a pickup ). The overall preformance was excellent, and the energy feel generated by the process was very noticable. ( note: we did use multi-track ProTools, but there was VERY little cosmetic surgery necessary prior to mixing )

considering that many of the really good young black players are currently holding down one of the only jazz gigs available in NYC at Lincoln Center.. or are alumnae thereof .. and other than the Basie and Ellington ghost bands, where were they to find work during that period? It seems to me that many of the black players of that period came out of the Brooklyn scene, M-Base and all that ..not the few remaining ghost bands out there..guys like Bobby Watson, Vincent Herring, James Spaulding, Victor Lewis, et al. ..and my current favorite straight ahead rhythm team: Christian McBride and Greg Hutchison

South Arlington, just north of Mansfield. Remember how Cooper used to be a two-lane going down to dinky little Mansfield? Now there's this little section of area right between Arlington and Mansfield where people actually live in Arlington proper, but they're in the Mansfield school district. Seems our city "leaders," back around 20 years or so ago, thought that Mansfield would always be just a little hick town and practically gave 'em all this land. Now Mansfield's growth is rapidly outpacing that of Arlington's, and they are reaping the lucrative benefits of the school taxes that Arlington could be getting right now if our "leaders"--then AND now--weren't so damn myopic!!! Sorry to go off on a tear there. After I took that picture, I just shook my head in realizing how different the background of each picture was about 15 years ago. Nothin' but trees. Was nice while it lasted. Yep ..now I know whereof you speak! And the overcrowding and sprawl ( along with the deadly ass f*****ing HEAT ) were a couple of the reasons for my presence in the Pacific NW. I recall when the Turnpike opened ..and it was great not to have to fight 183 anymore to get to FW. all my old jazz buddies there say the whole scene has gone down the toilet workwise..

Butch is all that ..but he aint no "youngster any more!

Where is that? somewhere near Grapevine? Euless? ( I see a DFW airport sign ) former Dallasite here ..

You know ALL the bandleaders had moments like that- Dorsey, Miller, Shaw, Woody (I know that from personal experience) etc. They're for the most part just letting off steam and asserting their leadership. I hear Buddy would often be laughing with the guys shortly after a blow-up. I think many of Buddy's musicians (if they weathered the first few tirades) came to realize it was not as bad as it first seemed. I'm sure the first time anyone encountered it was a shock, though. I have a mp3 of the "Buddy Bus Rant" that a friend of mine carefully spliced together with the Basie Sonny Payne showcase "Cute" ( with Buddy* replacing* Payne ) It's a fucking riot! BTW: you omitted a real winner in the ranting bandleader sweepstakes: Si Zentner ..

Sspeaking of seminal horn bands: Dreams :..Breckers +Sanborn + Barry Rogers + Don Grolnik etc .. and then there was Ten Wheel Drive ..and Chase ..

I couldn't help but notice that after my mentioning the "boxes" and inquiring about their meaning ..I recently acquired another"box" neath my picture .. Thus, providing further proof of the "squeaky wheel " axiom ..regarless of the # of my aggregate posts herein ..

Hey YO ..back off!! now yous gone to meddlin' ..messin wit my MAN , Maceo!!! Maceo ..Fred Wesley ..respeck, mon .. keep it real ..

Thank you all for your prompt enlightenment re da box kweschun .. I guess I'll just continue bopping in and dropping the occasional verbal bomb and let those in the higher aeries deign when I shall be granted additional boxes .. I'd like to note however ,that I in no way suffer from "box envy"

?????

Actually, Nashville bassist/ jazz singer Jim Ferguson wrote a tune called " Not just another pretty Bass" that was quite clever in a Dave Frishbergish way .. ( also heard on KPLU )

Can U name sum CDs where the drummers go crazy? I'm nu to jazzy music canu name sum neat stuff to play to get inna chicks pants? what jazz solos should I memorize 2 play at jazm sessions 2 impress people ( and2 get inna chicks pants )? One I've listened 2 Kinda Blue and A Love supreme what other jazz is worth bothering with ? IS the badplus cool or what? BTW: I dont think Bb Ma 7 needs to worry about being too old here ..I'm 67, and I not only remember Al Haig ,I played a session with him back in NYC in the late 50s .. ..and I also am old enough to remember when the Fed chairman was a tenor player on the Henry Jerome hotel band

**GREAT::: Show! listened to most of it online while fixing dinner .. ( sure do miss Gene Quill ) Be sure and keep us posted when you do the Sauter/Finegan show .. any chance of doing a Boyd Raeburn/ Spencer-Hagen /retrospective? anything I can do to help your show, drop me a PM! Phil Kelly

The only "old" horn bands that still sound up to par are EW&F and TofP .. heard 'em both withing the last year ..and they BOTH burn just like the 70s were still here!!!

Boy ..I'm glad I happened to pick right NOW to check out the BBS! That Thornhill Trend album was one of my favorites back in high school! ( plus even better ..I got a chance to play with Thornhill during the summer of 59 during a college break ..and he was still using that book! ) I'll definitely be there at 6:00 PM!

Okay: heres a few more: Did you know at one time during the early mid/70s, Woodys rhythm section after the Broadbent /LaBarbara period was Lyle Mays, Marc Johnson and Steve Houghton .. Mays was replaced by Pat Coil ..who went on to a career of studio work.. along with some jazz stints with Carmen McRae, Ernie Watts .. A whole pile of Woody alums still live and work in the Dallas area: Pete Brewer,Larry Spencer, Ed Soph, Rodney Booth ..and of course, Hobart down in S Texas .. Tony Klatka was also there for a spell in the 80s Jay Saunders at UNT and Dallas studio gigs was with Kenton during the Vax era .. of course, Lou Marini and Bones Malone ( Blues Brothers, Letterman and SNL bands ) and Bob Belden are still busy in NYC Oh yeh ..Both Pete Christlieb and myself did time with Si Zentner in the late 60s ( as well as other gigs )

got mine today and echo what PJ says! this is a KILLER cd!!! question for phil - did i detect a "carmina burana" lick in "bella luce"? great cd, good luck at the grammys!! B-) Hey guys! thanks for all the kind words (and helpin' me clean out my CD pile in the garage) As far as the "Carmina Burana" reference goes, if so, it must of been subconscious ..at what point in the chart didyou detect this? ( Gee ..and all this time, I though I was ripping off some Gil Evans brass voicings and serving them up with some stolen Claus Ogerman string licks! )

I ztand before y'all humbled, chaztened and I promiZe never to make zuch a miZtake again!! pleeZe note I have removed the offezive zpelling from my original pozt, and that a certain letter haz been banizhed from my keybored on thiz zite!! Kool'z kool ..howzabout the Ohio Playerz az well ??

Most of my memories of him date back to my college days ..My lead alto guy in my college band really like him when he was working with Boyd Raeburn in the mid 40s .. I'll ask my neighbor , Milt Kleeb ( who used to arrange for the Raeburn band alsong with George Handy ) if he knows what became of Bothwell .. anyone check out the AMG or Googled him ?? So I did ..theres a lot there: >>Alto sax, bandleader. Johnny Bothwell walked away from the music business at the end of the '40s, after having been fairly successful both as a player and bandleader. He moved from Chicago to New York in 1940, recording initially with Woody Herman and Sonny Dunham. Bothwell was the principal soloist with Boyd Raeburn for a while, then played with Gene Krupa. After that he headed his own groups from 1945-1949 in Chicago, New England and New York, then moved to Miami upon quitting playing in 1949. ~ Ron Wynn, All Music Guide

Just reading through the "GreaZiest" organ thread, so I thought I 'd toss out a similar one regarding the best fonky in the pocket horn band sides y'all have run into .. I submit : Anything by T of P ( nacherally ) Anything by Maceo and Fred .. other nominees??? ( edited for political greaZie -noscity by a chastened SGUD missile )

WAIT A MINUTE!!! thats MY handle However ..I'll be willing to trade it in for: " ass kissing brown nosing uber selfpromoting brown-nosing uber media twat "..

My Ongoing gratitude for all the nice words, support, and reviews that keep popping up as varios folks discover the CZ CD ( Peter Johnson, B3er, and Bright M et al ) And yes, I'm busily at work on a second CD ..I have seven charts done which we're gonna shake down LIVE @ Tulas in Seattle on Feb 5th ..hope to get into the studio by fall next year, all things being equal ..

Was Bud Shank mentioned? also: Jimmy Ford Randy Lee Dan Higgins Lanny Morgan Med Flory Arnie Lawrence Charlie Mariano

I know people who have spent 25k on a independent cd, radio, print promotion, and have little to nothing to show for it. Maybe that wasn't the right move for them. I would add that with a larger group, $25K for production and mastering ALONE would be considered a very frugal budget ( assuming that all involved were paid a reasonable amount for their efforts ) I did my first ( and only ) CD turnkey for $23.5 ..and considering that Origins help and a lot of compter and emailing time, I managed to get the sucker up to the #50 spot on the JazzWeek airplay list ..plus gained a Grammy nomination much to my surprise .. and yes, I do still have about 500 units in the garage and no, I wasn't silly enough to assume I'd likely break even .. but it's a calling card ..and may gain me some "participation" in the next CD! who knows ??