fasstrack

Speaking of 1972 or thereabouts, in National Lampoon there used to be a regular feature called True Facts. It was reported there that a singer in Argentina named Waldick Soriano was singing a song called I am not a Dog when a dog wandered on stage wearing a sign: 'I am not Waldick Soriano'. Everyone started laughing and throwing things and the guy finally fled in horror.

I hate to be the killjoy, but what does that say when it's big news that one of the all-time greats of the so-called American Art Form sells a whopping 3,126 copies in mail-order. Truly sad.

I hear you. Remakes blow. And who could stand in for Walter Matthau's nose coming back in the door before the rest of him after the bad guy sneezes?

At 97 he probably didn't know he was still around. That's a pretty long run, though. My favorite moments: 'let me get a good look at you in the light'.........Streetcar punching out the goon that dissed him in On the Waterfront and then telling the guy to try to get him to rat on Johnny Friendly 'Jesus is there with you in the hole' the best was when he was shot by Brando in some western (not One-Eyed Jacks. Don't know which one). He's on his knees and 80% dead and he keeps screaming at Brando to 'finish me off'

There's a slew of, for instance, Coleman Hawkins records of which this could also be said. Still, there's a story being told, or more accurately, finished, and I'd not be without them. I guess. Which Bean records, anyway? Torwards the end no doubt. Yeah, Wrapped Tight is the first one that comes to mind, from about that time on out. There's a slew of, for instance, Coleman Hawkins records of which this could also be said. Still, there's a story being told, or more accurately, finished, and I'd not be without them. I guess. Which Bean records, anyway? Torwards the end no doubt. Why do some greats burn out and others last to advanced age? They´re all just as talented and thereby high-strung so the ´intense genius burnout´ thing won´t wash by me. Any theories? (Ha, I guess I should ask how often bears shit in the woods....) not an entire theory... but i'd throw in the claim that guys like sonny stitt and art pepper who were to a (maybe overly large) extent driven by competing with other saxophone players, "sportive guys", had a longer peak than many others who were maybe driven more strongly by trying to, say, express themselves, settle something with themselves... ) But both those guys died too young. It's interesting you bring it up and what you say, but it doesn't answer my question----just poses another, which maybe is better. It's also interesting that Stitt pretty much played the same on all his horns throughout his life. Art Pepper changed radically after he came back from the pen---and a lot of people didn't like it, but it was real. Maybe that makes him a bit like Miles, dunno. Maybe hiking throught the mountains is harder on you than calesthetics in your bedroom? You lost me there, honcho. Don't bogart that joint and maybe I'll get it

There's a slew of, for instance, Coleman Hawkins records of which this could also be said. Still, there's a story being told, or more accurately, finished, and I'd not be without them. I guess. Which Bean records, anyway? Torwards the end no doubt. Why do some greats burn out and others last to advanced age? They´re all just as talented and thereby high-strung so the ´intense genius burnout´ thing won´t wash by me. Any theories? (Ha, I guess I should ask how often bears shit in the woods....) not an entire theory... but i'd throw in the claim that guys like sonny stitt and art pepper who were to a (maybe overly large) extent driven by competing with other saxophone players, "sportive guys", had a longer peak than many others who were maybe driven more strongly by trying to, say, express themselves, settle something with themselves... ) But both those guys died too young. It's interesting you bring it up and what you say, but it doesn't answer my question----just poses another, which maybe is better. It's also interesting that Stitt pretty much played the same on all his horns throughout his life. Art Pepper changed radically after he came back from the pen---and a lot of people didn't like it, but it was real. Maybe that makes him a bit like Miles, dunno.

There's a slew of, for instance, Coleman Hawkins records of which this could also be said. Still, there's a story being told, or more accurately, finished, and I'd not be without them. I guess. Which Bean records, anyway? Torwards the end no doubt. Why do some greats burn out and others last to advanced age? They´re all just as talented and thereby high-strung so the ´intense genius burnout´ thing won´t wash by me. Any theories? (Ha, I guess I should ask how often bears shit in the woods....)

I hate to say it, not being competitive`or wanting to play each 'individual snowflake' off the next, but he embarrassed the formerly great Miles Davis on that recording. Just great ideas, sound, chops. He made Miles sound like an old man who stopped practicing. The CD with the rapper was even worse, and that's really big-time embarrassing. There have only been two musicians, to my knowledge, that got out and did something else at the top of their games: Artie Shaw and Johnny Smith. (Isham Jones too, I guess). I respect that, it takes a lot of a lot of things to do that. I know why people keep playing, it's therapeutic and keeps you young, they don't know anything else to do, etc. But it's painful to hear Miles play like this. In case anyone misunderstands: there are right now musicians in their 80s and 90s playing brilliantly. Clark Terry, Dr. Billy, Benny Golson, 'kiddies' Phil Woods and Barry Harris. Miles didn't end up in that category, sorry to say. He didn't need to embarrass himself, he's an all-time great. Just not on Dingo, Decoy, etc. I disagree--Decoy is a great record--sorry! Don't love you ranking Chuck Findley's playing on Dingo as better than Miles' either, but its a free country Artistry? Also--easy to dis' DooBop as well, but Miles is truly playing great lines--very chromatic and rap like...Miles didn't lose his chops or technique to me...his artistry is always there, even if you don't like who he's playing with. I never said anything about who he was playing with. They were not the problem. Miles was the problem. To tie in my original point: The exact thing I told Branford back in the day was almost identical to what you are saying: his spirit was strong and carried him. He gave me what I took to be a snotty answer, something like 'spirit didn't count for much when you can't play no more'. I took a lot of heat on that site generally, thinking they were all Marsalis ass-licks, and many were. But Branford turned out to be a good cat, I met Wynton twice since and he could not have been nicer. Even the, er, hated and maligned Stanley Crouch (in some quarters) turned out to be not at all what I thought. His dirty secret is that he's really a good guy. Trust me, no one resented that seemingly anti-Miles troika more than me, Miles being one of my main heros. It seemed they were trying to write Miles out of history for their own ends, and I guess the debate and accusations will go on as long as people (like me...) have time to waste on it. I also always dug Branford's playing. The point is, he was there. He was on the dates. His words therefore have some weight, like 'em or not. Did he suffer from familial prejudice? Probably. That's understandable. Is in less than classy to badmouth an employer who helped make your name? Yeah. But (and this is all my opinion now) when you evaluate the music Miles himself doesn't smell like a rose. He just was weak and trading in cartoon-like shadows of his former greatness and some of those recordings should not have been put out. The one with the rapper should be stomped into the ground. He should have bought up all the copies like the scene from Silent Movie. Like I said, Star People was really nice, and We Want Miles. The 70s stuff he played his ass off on. What I'm getting at too: I used to always resent guys with chops until I grew up a little and realized I had to practice more. Art is craft to an extent, and a large one. Humanity, intuition, and expression have to lead, but if you can't get it out who's gonna know? Technique that lets you be yourself is the best kind, together with talent they make art. That's what made Miles so special, so one-of-a-kind. But it's also sad when a guy, a great individual no less, takes himself on a trip where he's talking all kinds of mess about 'new music' and 'people don't get it', etc. and the reality is he's just embarrassing himself.

Phew. I thought you were gonna argue with me......

I hate to say it, not being competitive`or wanting to play each 'individual snowflake' off the next, but he embarrassed the formerly great Miles Davis on that recording. Just great ideas, sound, chops. He made Miles sound like an old man who stopped practicing. The CD with the rapper was even worse, and that's really big-time embarrassing. There have only been two musicians, to my knowledge, that got out and did something else at the top of their games: Artie Shaw and Johnny Smith. (Isham Jones too, I guess). I respect that, it takes a lot of a lot of things to do that. I know why people keep playing, it's therapeutic and keeps you young, they don't know anything else to do, etc. But it's painful to hear Miles play like this. In case anyone misunderstands: there are right now musicians in their 80s and 90s playing brilliantly. Clark Terry, Dr. Billy, Benny Golson, 'kiddies' Phil Woods and Barry Harris. Miles didn't end up in that category, sorry to say. He didn't need to embarrass himself, he's an all-time great. Just not on Dingo, Decoy, etc.

I like Dingo. Who was that other trumpet player? He played his ass off. European, I think.

Fred Stoll is a drummer, right? Wow, haven't heard that name in years. We were in a college program for a minute, if it's the same guy. Kinda blonde, good player. Two very underrated trumpet players still around----and I can verify this having player with both----John Eckert and Don Hahn. I played with Eckert especially, and know what he can do----anything and with maturity, ideas, blues, swing, can take it out.......Ask Lazaro, he knows. Don is a very melodic lyrical bebop trumpet player in the context I heard him, a loose jam session, with a more-or-less set group, led by Ari Roland that I make sometimes. Probably he can do a lot of other things, too. I know he played with Maynard for years and Maynard supposedly loved him.... Yes--Fred Stoll the drummer(Staten Island?)--If you know him, get the tape!!! Just was listening to John Eckert yesterday on Lee Konitz-"Yes Yes Nonet" and he was really kinda impressive and soulful in an interesting old school+ modern touches way--granted 30 years ago! Tom Harrell is also in the group and plays scary good on the record. Don Hahn I have yet to hear New York Mary fame and taught Jazz at Columbia in the early 80's, I believe. New York Mary? A phenomenal guitarist, now deceased, Tim Breen, was in that band. He was something, just f'ed up everyone in NY then he went with Frankie Vali and never came back. He died in Seattle. To hear two really nice John Eckert solos (fair disclosure: it's on my site, my music) go to www.soundclick.com/joelfass and go to tracks 2 and 5. He plays a beautiful solo on my tune, though the bass and piano turned the time around, which, to his credit, he ignored (along with the drummer and yours truly, but it still made it unreleasable). He's also on other stuff on there with Ralph Lalama (6,7) but those two are my favorite. Yeah, Tom was in peak shape in the 70s. No doubt about that......

That last period was not his finest hour. Lotta editing required, I think. But it's cause his chops were in the shitter. Branford Marsalis was trash-talking Miles from that period on his old wild-and-crazy website and I got bugged and called him on it b/c I felt it was disrespectful to a guy that helped launch him early on. (just like Miles himself calling Bird a greedly MF---it's just not classy to me) 'He didn't want cats to hear him", he said, meaning he was hiding behind the Harmon, etc. I gotta admit in retrospect Bran was right. Miles just was weak, musically and chops-wise. Trumpet is brutal after a layoff. I thought Star People was the strongest. It's a good blues record. He definitely got it together for that one. Enough dissin late Miles! OK--Please listen to the track, Ursula, from that record "The Man With The Horn" and tell me Miles wasn't still with some of his charms... Wasn't dissin' him at all, just callin' 'em like I see 'em. Like I said I dug Star People. The live album from Boston was good, too. I also heard the band live on the air from the Chicago Jazz Festival, I forget the year. He sounded pretty strong. I thpught that bass guitarist Foley was pretty nice.

Fred Stoll is a drummer, right? Wow, haven't heard that name in years. We were in a college program for a minute, if it's the same guy. Kinda blonde, good player. Two very underrated trumpet players still around----and I can verify this having player with both----John Eckert and Don Hahn. I played with Eckert especially, and know what he can do----anything and with maturity, ideas, blues, swing, can take it out.......Ask Lazaro, he knows. Don is a very melodic lyrical bebop trumpet player in the context I heard him, a loose jam session, with a more-or-less set group, led by Ari Roland that I make sometimes. Probably he can do a lot of other things, too. I know he played with Maynard for years and Maynard supposedly loved him....

That last period was not his finest hour. Lotta editing required, I think. But it's cause his chops were in the shitter. Branford Marsalis was trash-talking Miles from that period on his old wild-and-crazy website and I got bugged and called him on it b/c I felt it was disrespectful to a guy that helped launch him early on. (just like Miles himself calling Bird a greedly MF---it's just not classy to me) 'He didn't want cats to hear him", he said, meaning he was hiding behind the Harmon, etc. I gotta admit in retrospect Bran was right. Miles just was weak, musically and chops-wise. Trumpet is brutal after a layoff. I thought Star People was the strongest. It's a good blues record. He definitely got it together for that one.

Me too the same......

I've heard it. By all means. I used to talk to the late Red Mitchell for hours on the phone when he came to NY as sort of straw boss at Bradley's. He went on about Tony at length. Probably a lotta cats from that period felt that way. But I've heard the recording myself, and he's a great, lyrical player. Lotta breath in his sound and it's a dark sound. That's what I recall and music speaks loudest.

I guess she's 'gettin' a taste'.....

Go yell at Stanley. I ain't my brother's keeper. Shit, I'm not even a 'brother'.....(just in spirit) And when did or would I confuse him with a musician, let alone a great one? You know me better than that. I also said I disagreed. To read my actual brilliant dumbass statements, see above.

I agree. And don't even get me started on Conan. I just don't understand his appeal AT ALL. These kids and their comedians.. Ha! We're getting old, in other words. But this dinosaur concurs: After Carson?McMahon, down down downhill for late night................ Leno was very good at stand-up. Before the wars with Letterman he was a regular guest and pretty sharp. I remember one of his best bits: during the crisis with Khadaffi Reagan called him a 'flaky barbarian'. Leno came on Letterman with a ceral box with Khadaffi's picture like a Superman and over block letters: Barbarian Flakes.

What's wrong with 'courting the wider rock audience'? Jazz is spelled p-o-v-e-r-t-y. After a while even the big names tire of that shit. Plus he arleady proved he could play, so why preach to the converted? That can be boring in a sense---though performers should always appreciate their audience. Why not get more people from other walks of life in the tent? Makes life more interesting. Anyway, 1945 is not 1968, etc. That is if he really did mean it. That's the argument I had with Mr. Crouch. His points were very well taken when we talked about this at length, but neither myself or Stanley have ever resided in Miles' head---far as I know. My own feeling is that both are true: He wanted the bread, a wider audience and he meant it. Good for him on all three counts.

didn't do much for me joel. sounds ok. That's alright. I like it. Thanks for listening and being honest.

I have no Internet connection at home and am a computer retard. I was guest on a show called In the Moment Friday, June 12 (3-6 AM). There is a link to archived shows at www.wbai.org (all shows must be selected). I enjoyed being a guest on my old friend's show, but they wont give me a copy and it'll be off the archive as of Friday. Would some kind soul save a hard copy for me and PM me? I will reimburse any expense. This was a good show with good chemistry between host and guest and I played live too. Thanks.

Hey-oooo Too many precious and funny memories to even get to, but my favorite stories are: (and let's face it, McMahon and Carson are white and rice) On an anniversary show they were getting really misty-eyed, and Carson was trying to keep his macho composure looking at Ed and blathering something about what he meant. Finally, he looked at the camera, said 'to hell with it', came to the couch, kissed him. The audience broke up. Reading an Alpo commercial he looked away from the copy and to the camera and ad-libbed that he ate it himself every day and to 'look at me, I look pretty damn good, right?' The story is that McMahon, nervous before the first show, especially after being kept on the hook as to whether he even had the gig, sais to Carson 'what are we gonna do out there?'. Carson replied 'we're gonna try to entertain the hell out of those people'. I think my (our?) world changed forever when the definitive Tonight Show (the pretenders that followed-----let's not even, please?) went out to pasture. Also, that was the end of live studio big bands. Different world now, but the death of McMahon and the gush of memories is showing us how different.