fasstrack

I think you're talking about the 1st 8 bars. It's hard to pin down since a lot of that harmony is culled directly from classical music, especially Chopin and Romanticism generally. The themes could be from anywhere. They're playing in thirds. which is wide open as to influence. That very last fragment of melody of the last 8 does sound like a theme from Carmen, but it's really up for grabs. It ends on a flat 5. You're getting into areas of harmony that are subject to interpretation. This is all off the top of my head. I'm hearing it in my head, the music's not in front of me. The last 4 of the intro is pure bebop with the flat 9 or flat 5, have to check, and the syncopation of the last three notes. It's a hell of an intro any way you slice it.....

It's really gratifying and wonderful to see so many of our leading musicians playing and writing vital music well into their 80s (and beyond, as in Hank Jones). It's really a unique time in jazz history and shows how music keeps us young. Benny Golson, Billy Taylor, James Moody, Teddy Charles, Terry Gibbs, Clark Terry-----for openers. Then there are 'youngsters' Barry Harris and Phil Woods, both 78. It's not just that they survived or sound great for old men. They're playing and writing their asses off! And they survived.......

I'm confused now. The album I know has Wynton Kelly and, I'm pretty sure, Lee Morgan and is called 'the New York Scene'. Great article, BTW. Kelly's on piano, but Art Farmer - not Lee Morgan - on trumpet. Three quintet sides w. Golson & Farmer. Thanks. I used to have that. They play You're Mine, You as Benny's feature.

Thanks. Hope to see you. I'm trying to get a group off the ground with two superb musicians: Tim Givens on bass and cello, and Vanderlai Perriera on drums. We worked twice in January and rehearsed once last month. We think we have something nice and need some work. I have a lot of nice material and we at least hit the tip of the iceberg that rehearsal. People will sit in a bit last set, not too much. I want to feature the guys (and my own playing, too, I guess). But I always make the tunes and presentation the main attraction. I want to write some things to feature Tim on cello, he is superb----one of the best I've heard. Plus he knows every tune I call. Vanderlai is a tremendous talent with great ears, Brazilian, with his own take on jazz.

I'm confused now. The album I know has Wynton Kelly and, I'm pretty sure, Lee Morgan and is called 'the New York Scene'. Great article, BTW.

That wasn't my point. I'm a guitar player. That's not an instrument worthy of a player like Joe Pass. Doesn't have the warmth of a good archtop. Thin sound, no bottom, no depth. Can't be heard without an amp. It's not a guitar for a jazz player. But he made it sound good, and adjusted his touch b/c you can't play heavy or 'plink' with the pick on those solid bodies. It sounds horrible. Anyway, his playing on that cheap, shit guitar is actually my favorite of all of his. Just amazing control, great ideas, great energy and swing, and he made that thin sound with the light strings sound like a million bucks by adjusting his touch.

I heard and actually listened to Bakida Carroll the other day. They were playing him on the radio just like you play and turn people on to people previously unaware. Anyway, I dug him, especially his writing. One recording was called the Cage Door or something. It was intense. I liked Tomaz Stanko (not enough not to murder his name, apparently...) also after being turned on by IMO one of the best stations programming jazz anywhere: WKCR FM. You guys do such a service for musicians and fans. Contribute to Blue Lake, y'all. (I'm off the hook, living in NY, but youse.....

Was he on the video w/Joe around '60 or so? There was a TV show and they played "The Song is You" and "Sonnymoon For Two". It turned up on a video called The Genius of Joe Pass, also including a lot of solo performances, something with Ella, and duos with NHOP. But those first two tunes are scary. On a little toy Fender someone gave him just so he could play. Burning, and no wonder he scared even Wes, who declined sitting in back then. He was that good. Sounds of Syananon is a jazz guitar classic IMO. It really doesn't get better---unless it's Django or CC. Every solo he plays is so joyful and swinging and his articulation and chops with the pick are on the highest level. Good band, too. fasstrack, check out the video posted on the Night Lights Resolution: Jazz From Rehab program page... Is this the one you're talking about? Couldn't open it. Shitty, pirated wifi connection and a slow computer. I'd like to see it eventually though. Thanks, buddy.

I'm in the library and am gonna read that right now. I heard Benny not long ago and it was wonderful. His mind is one of the best and the material almost is irrelevant. His sound, especially for tenor, bone, and trumpet, is his sound, and one for sore ears. It always comes out Benny Golson.

Was he on the video w/Joe around '60 or so? There was a TV show and they played "The Song is You" and "Sonnymoon For Two". It turned up on a video called The Genius of Joe Pass, also including a lot of solo performances, something with Ella, and duos with NHOP. But those first two tunes are scary. On a little toy Fender someone gave him just so he could play. Burning, and no wonder he scared even Wes, who declined sitting in back then. He was that good. Sounds of Syananon is a jazz guitar classic IMO. It really doesn't get better---unless it's Django or CC. Every solo he plays is so joyful and swinging and his articulation and chops with the pick are on the highest level. Good band, too.

Zinc Bar?

Thanks. What's available on recording? I have Fletcher's Tidal Wave, which has a lot of Don Redman's stuff also.

Yeah. The night I heard him he went into a chorus of 'Soldiers for the Lord'. It was wild. I think I sat in, too. There wasn't much room for me to play as I remember, but he was pretty impressive.

You'll probably see me there. I came with the furniture . My group will be there early show May 29th FWIW-----not much, I'm sure.

Buried deep. Towards the end. Ah, the Saugatuck/Douglas Jazz Festival. That's morphed from what was the Idlewild Jazz Festival. Produced out of Detroit, it lasted a few years in Idlewild, though that former African-American resort town -- Clifford Jordan told me he took his first steps there; and for years Lillian Armstrong had a cabin there with her phone listed in the local directory -- is located in one of the poorest counties in Michigan. So this is the first attempt at moving it down to Saugatuck, which is a beautiful little resort town a reasonable drive from Chicago. The Art Institute of Chicago has an extension program there at the Oxbow school, and there's a large gay population as well as throngs of tourists. Looking forward to M.C.ing a night of that fest when the time comes..... It's nice to hear things are going on in places you never---or hardly ever---get to. If it weren't for Smalls and Fat Cat here I would hardly hear live music or play it, b/c luckily friends operate these joints and I (and other musicians) can get in. About once a year I can afford the clubs. Anyway, that's about as often as there's someone I feel I have to hear. Thank God for Mitch and Spike and Noah for giving me and other guys a home and some respect. It was nice to get down there 5 years ago when we came. I guess Tim Scully is the Mitch Borden of NW Michigan. I'm glad you're there too. You guys are kind of heroes. Gotta keep hope alive----and give people other than the big names a shot to be heard and even make a few sheckels.

To Buffalo, then. G'night, Chet..........

They applauded because they knew he would beat the shit out of himself later that night... I don't get it ----and, far more depressing, wish I did.

Now Seinfeld is on at least. It really does hold up. What's that Hughley guy's first name, anyway? That was a pretty good show. I don't watch a lot of TV. I swear. Almost none, except the news. Just shut in right now. And trying hard not to lose my mind

I agree, even though it gave work to a lot of deserving players on the recording. It's pretty out to listen to and ultimately a conceit that should've been left in the pitch room. Also, though Eastwood is a great guy and jazz fan for sure, and I am a fan and admirer, I never quite bought that movie generally----a whole other topic, I'm sure. But your point is well taken. And well-expressed.

Maybe his music is better than that show, but, jeez, this guy was tripping on himself----to a kiss-ass choir (which, unfortunately, included that guy Hughley I think is pretty funny generally). At one point Brown said---exact quote: "I'm in love again----with myself", and the panel right-on-ed it to applause. Truly embarrassing.

Some show on My9 in NY featuring Bobby Brown and with a panel. I never heard him before, just saw his name in the tabloids and never paid any mind. Now I know why: He talked about himself for an hour like he was Christ on the cross. What an excersice in egotism. One of the panelists said 'we heard greatness tonight'. Really?...They had a brief musical segment and it was hardly impressive. They're playing the out theme now and it's infantile. Offensive to me as a hardworking songwriter. If this is pop music these days it's depressing. The blandest pop from Brazil cuts the shit out of this. One amusing detail: the saxophone player was the token white boy.

Re this organist: as Rob Schepps might say: 'I'm not familiar with his work'. FWIW: You have the same last name as a nice guitarist from NJ who plays in a lot of organ groups: Bob Devos. Red Holloway is damn underrated. Nothing wrong with 'originals' as long as they're good. It's true too many aren't. But IMO a few more good songs in the world can only help----as long as someone's listening.

Buried deep. Towards the end.

I couldn't find Bran on there. Must've been buried. I found Johnny O' Neal, though. Wow. 20 years ago, at the Jazz Cultural Theater, I heard Barry Harris (not known for errant compliments to jazz pianists) tell Monty Alexander with my own ears: "what are we gonna do with this guy? Tie him down". He was playing that much piano. If you see Bran please give him my best and that I love his soprano playing. What an amazing sound. He's really a great saxophonist, period. I learned Lulu's back in Town the other day playing along with him and his dad on a very nice duet record. He also has an ass kicking coming. On GP (just kidding).

Funny joke. Sorry to rain on your comedic parade but Wynton actually seems to be a very cool guy from what I know of him, and especially approachable to musicians---from very limited personal experience. But it was funny---and, you'd be surprised, he might be the first one to laugh. His skin seems pretty thick. How is that recording? I bet it's pretty nice. I dig Nelson's singing and his songs.