fasstrack

In retrospect I enjoy Bill's work with that rhythm section and that period generally best. The Vanguard stuff and forward I find I have to be in the mood for. He was less into swinging, more into the 3-way conversation---which is great, too. I also prefer Scotty out of the group, say, with Victor Feldman----for the same reasons. But I love Bill's sensitivity and touch, and his way with the American Songbook. He was a contributor of significance. I think enough has been written about Bill's contribution to that group (including uncredited compositions). I think people reach a certain plateau and they sense when it's time to move on. Everybody in that group became a star afterwards, and rightfully so. You can't keep great talent and potential leaders from doing their thing too long----or you get a group of all leaders. Let's just be glad it (that quintet of Miles and the sextet) happened.

Well said, indeed

Yeah, I guess we agree to disagree. Sorry you had bad experiences with audiences. And why go there re Wynton? That doesn't add anything but negativity to the discussion. Spontaneity has to do with being in focus and listening (read: reacting to the cats on the stand)---period. That's what raises the level of the performance, listening and reacting. And the audience is part of it---which doesn't mean you play down or cater. No one wants to think they are a 'product'-----but the realities of being performers in the land of capitalism makes us exactly that. Being aware of how people 'sell' you shouldn't affect anything you play. It's just part of the bigger picture and I don't like living in a fool's paradise myself. I think the minute someone labels you 'jazz' it raises a sea of expectations. It gets on my nerves. I'd rather they just call it music and let people listen with fresh and open ears. I have a myspace page with things I wrote in a few styles and I can't get the word 'jazz' off there---it annoys the hell out of me. It's not that I'm not proud to be a jazz musician. It's just that I don't want people's reactions pre-determined by what they've been told 'jazz' is. I really believe a big part of what we do is tied to trusting what people can hear if given a chance. They don't have to read critics or eggheads or ask some 'expert' opinion. Just give the music a chance. Just listen---player or audience----that's the answer for me.

Aaargh.....I wouldda waited and bought the one with the top notes available. File under 'another missed opportunity'

The one on top, the sunburst, is the one I have. (the binding looks weirdly speckled in this pic, though. Mine is solid, Jackson.)

It's not about 'being distracted by the outfits', but about showing you're a professional and respect yourself, the music, and the listeners. And, with all due respect, I'm also a musician, a very serious, experienced, and dedicated one and I think you are kidding yourself when you say jazz is not 'a show'. I understand what you mean, I think: that it's not choreographed and playing to cheap emotions, has depth and all that----but club owners consider it a show, audiences want to be entertained, not have something fly over their heads. An old friend, the late Clarence 'C'. Sharpe used to say 'jazz ain't nothin' but show business---and I know exactly what he meant. You can be as 'deep' as you want with your ideas and concepts, etc., but you still need to communicate something to people and connect. That doesn't mean one has to jump around or act like an ass, but being a little funny, entertaining, yes, looking nice will never take away from how well you play. It will just add to the package IMO. Finally, I really take exception to the comment about audiences possibly not understanding the music b/c they're too wrapped up in the externals. I've been surprised again and again by what level 'ordinary' people hear on---despite what we musicians might assume they are thinking about. I could tell you a million stories. I think the problem lies with musicians who think they're so damn deep they're doing people a favor showing up. Playing in front of people is give-and-take. It's the musician's responsibility to sound and give his best and also to communicate something to the public he or she is before (even if its 2 people). It's the audience's resonsibilty also to meet the artist halfway if they've never perhaps been down this particular road before. But it's my view that anything (within reason and without resorting to gimmicks) the performer can do to make the audience realize they are serious about what they are doing will help their case in terms of people wanting to listen to what's happening is worth doing.

Does anyone know how to get a cheap copy of Unsung Cat? (preferably with the companion CD). That one's definitely a keeper.

Gretsch Guitars G400 Synchromatic - I'd love to try one, I think they look real spiffy, I wonder what they sound like? I hear you, but no thanks. I want a two-pickup (double-coil) monster. I've had plenty of archtops---and pleanty of feedback I just want another sound pallette just because..... I know what you mean, I don't need another guitar like that - I have a D'Angelico Excel that feeds back just fine. Guitars are being made well and cheaply now. No need to spend a fortune. You can get something that plays, sounds, and looks (if you're into that) good for under $1,000. Well under $1,000. I got a Godin Kingpin archtop a few months ago. I love it and so does everyone that hears me on it. Of course, ahem, I might just have a little to do with that (choke, sputter, hock-a-loogie). Those two Gretsches I mentioned, Anniversary and Electromatic, are the current apples of my eye...and ear. One for $1,800 or so, the other a cool $700----at the overpriced store at that. Oh, when I get money......... It's good to be the king.............. .

Every day someone talks or writes about good songwriters is a good day...........

I certainly do. I worked there with Hadda Brooks, a great singer-pianist from L.A., for a month in '94. Gil Wiest is his name (the brother of actress Dianne)---and his reputation preceded him. He gave myself and Ms. Brooks the hardest time he could----but we never took the bait. She was such a great singer (and my friend Morris Edwards was on the gig on bass) that we just pulled together, ignored his BS and made the best music we could. You worked with Hadda Brooks?! Sir, I must bow in your honor. Fun film fact: she's the pianist/singer during the nightclub scene in Bogart's IN A LONELY PLACE. I bow in her honor. Great lady, memorable gig. She was also in Out of the Blue with Bogie and we performed the title tune. Also---contemporaneous with that gig there was a movie with Sean Penn----The Crossing Guard----that must've come and gone in a flash, Hadda sang Anywhere, Anyplace, Anytime to Penn's character in it. I would've loved to have seen that. She sang The Thrill is Gone rubato, with me strumming and Morris bowing and gave me a chill I'll always remember.

I treated myself to Phil Woods' Quintet Saturday. It was wonderful and uplifting. The old man still sounds great----wisdom and health issues make him pace himself more these days, but it's vintage Phil Woods----with a great band and top-drawer writing and repertoire. I can afford to go to the priceier joints maybe 2x yearly----and make sure it's something I'll remember. Last one was Benny Golson. Bless both those guys.

Gretsch Guitars G400 Synchromatic - I'd love to try one, I think they look real spiffy, I wonder what they sound like? I hear you, but no thanks. I want a two-pickup (double-coil) monster. I've had plenty of archtops---and pleanty of feedback I just want another sound pallette just because.....

I tried some new but traditional Gretsches lately(in order of expense): Country Gentleman, Anniversary, and Elecromatic. They were wonderful instruments. When I can afford it I will probably get either the Anniversary or Electromatic----since they played and sounded the same to me, and who needs to spend $2,500 for bells and whistles? But what lovely guitars they make.

I find myself an insatiable reader lately and would like to pass on some recommendations for your consideration: Warne Marsh: An Unsung Cat (Safford Chamberlin--Scarecrow) This not only plumbs the depths of Marsh's life and the reasons he wasn't better known in scores of interviews with colleagues, friends, his ex-wife, etc. but also has several transcriptions of solos by this master improvisor. Music, The Brain, and Ecstacy (Richard Jourdain) I mentioned this before. It's a pianist/scientist's excellently organized and presented views and data on how the creative mind is organized, remembers, and works---and how, why, and to what listeners of music respond. Also: cheapie collections of poetry of Langston Hughes (In Time of Silver Rain and the Final Corner among my favorites), Shakespeare (Midsummer Night's Dream, R&J), Homer. The preceding were all $4 or less, boogie on, poor but happy dude. Edna St. Vincent Millay is next. Ooh La la.

I believe around here it's spelled Nessa-sary. 'Don't tell me what's Nessa----I tell you what's Nessa'.....* *High Anxiety

I certainly do. I worked there with Hadda Brooks, a great singer-pianist from L.A., for a month in '94. Gil Wiest is his name (the brother of actress Dianne)---and his reputation preceded him. He gave myself and Ms. Brooks the hardest time he could----but we never took the bait. She was such a great singer (and my friend Morris Edwards was on the gig on bass) that we just pulled together, ignored his BS and made the best music we could. It was a memorable experience. And next time I saw Mr. Wiest he had nothing but respect for me. One good thing about that place was it was open-ended in terms of long engagements---not too many joints like that in NY anymore. In fact Morris and I were looking for him to try to scare up another gig.

I think people take this stuff waaaay too seriously. I'm a dedicated professional musician. I have friends and I have opinions. I don't need to float them or have them sanctioned here (or elsewhere on the web). I've made some good friends but also had a few rather negative experiences with people in chat rooms----which made me realize what a big waste of time it was, and also how unnessecary (sp?) to spend undue time in these places. Also, you don't 'know' anyone til you meet eyeball-to-eyeball---and there's a lot of deception (read: people not what they say they are) on the web, and since it's pretty unregulated it's easy to get away with, These days I may post some music I myself did that I think is worth hearing, write about someone else's work I dig, float a topic of interest to the board, participate in a friendly way---but that's as far as it goes. That's as far as it should go. We all have real lives, right? So to me if someone gets kicked off a site at the very least they're spending too damn much time there. At most---well, as they say---there could be, ahem, issues . So that's the message: no need to take it to the point of involvement where it's nessecary to be booted.

Yeah, Clare. That first tune especially, UMMG, is beautifully handled. And it's a walk in the park for Diz. Nice, relaxed tempo, too. There's a live recording of Dizzy featured with the Ellington band at a birthday party for Duke in Washington, D.C., I believe. He gets a spot and there are a few other guests. I'm sure it came out commercially at some point but I wouldn't know what it's called. Jazz Party on Columbia. It's live in the studio. Thanks.

Review continues Russell George told me a story: A guy BSs his way up the food chain of a reputable paper in the Fort Worth area. He becomes critic-at-large. He's assigned a Charlie Parker album to review and writes: 'The guy sounds good------but he sounds like he's making it up as he goes along!' I'm not sure if a MacArthur genius award was presented for that...........

Yeah, Clare. That first tune especially, UMMG, is beautifully handled. And it's a walk in the park for Diz. Nice, relaxed tempo, too. There's a live recording of Dizzy featured with the Ellington band at a birthday party for Duke in Washington, D.C., I believe. He gets a spot and there are a few other guests. I'm sure it came out commercially at some point but I wouldn't know what it's called.

If you really feel you want to dress casual that's OK, I guess. But if all you are is a fashion statement...... I always try to dress nicely, even if I'm just sitting in. It just shows respect for what you're doing, that you take it seriously. And it's cheap. I go to thrift shops and it looks fine. I tell bands to dress, too, if I'm the leader. They don't always listen, though............... Excessive looseness of discipline can lead to bandstand 'tudes'----which can lead to......................

I attended a panel yesterday at Lincoln Center Library. It had Jonathan Tunick, Hal Prince, John Kander, Elliot Lawrence (from whose band sprung a teenaged Gerry Mulligan) and other heavyweights who write for Broadway shows. The theme was the orchestrators and composers. It was great and is archived on NYPLs website (or will be). The thing that stood out was that, to a man, they all complained bitterly about having to deal with pared down or non-existing orchestras (b/c of penny pinching producers). The money factor really tamps down what even these giants can add to shows. What a drag. So not only jazz is poor and has to play it safe to get sales of recordings, etc.

There are at least three quartet CDs with Getz/Barron. Serenity, Anniversary, and Voyage. All are superb. As for Kenny Barron himself, he has so many recording credits---going back to Dizzy's big band when he was really young---I would be here all day and not finish. I really like Sambao, from the 90s on Verve. It has a lot of Brazilian type tunes he wrote (it has that theme) and a bonus is that it features one of my favorite musicians: Toninho Horta. And People Time itself is masterful. Getz called Barron 'the other half of my heartbeat'

That's my point, that it's disconcerting that people think the music (and the live artist making it) aren't important enough as 'stand-alones' so they figure they have to resort to gimmicks. I would disagree on one point: I really miss album art. It gave an added esthetic bonus whenever you bought an LP. In the CD era, the images were, sadly, shrunk. But at least they were there. Now what? There ought to be a digital library for cover art.

That's my point, that it's disconcerting that people think the music (and the live artist making it) aren't important enough as 'stand-alones' so they figure they have to resort to gimmicks. I would disagree on one point: I really miss album art. It gave an added esthetic bonus whenever you bought an LP. In the CD era, the images were, sadly, shrunk. But at least they were there. Now what? There ought to be a digital library for cover art.