fasstrack

All in all it was pretty good. Not great. Next I want to read What it Is (Dave Liebman talks about the jazz life in long interview with Lewis Porter).

Ir we're counting euphinium Kiane Zawadi. Also many bassists double on tuba.

Well, I've just about finished-and I must say it's a remarkable story. It still is unclear as to whether actual threats from factions in the biz or his own paranoia (both?) caused Gryce/Qusim to fold his tent and leave both publishing and performing. (For those unfamiliar with the story in the early '60s he withdrew from performing, severing ties w/all his jazz colleagues, dissolved his publishing concerns-causing speculation that he had been threatened, and reinvented himself as Basheer Qusim, a dedicated music teacher working in the Bronx). The authors and interviews with his then wife, and musicians like Richard Wyands and (then publishing partner) Benny Golson uncovered no real evidence of threats against him or his family. Those interviewed did notice changes in his behavior, chiefly a secretiveness and nervousness. Then he was gone-bam! There was a fire raging inside the man. The authors cite 'emotional frailty' at the beginning and end of the book. I wish they would've pursued that a bit more.

For $30 w/standard issue Metro PCS Kyocera you get a Stupid Phone..

I mean giving some highlights and focusing on the more important dates leaves room for the reader to listen to the music and draw his own conclusions, make his own analyses. And do I really need to that (p. 248) 'Gryce and (Ray)Copeland worked at the Big George Restaurant in Corona, Queens, in February..when the real point is that the Jazz Lab broke up after Donald Byrd quit the group? It makes a book too congested with unimportant details. I would've preferred more detail on the Monk's Music session-way more important than some little gig in Queens with a sub on trumpet. Anyway the main reason I wanted to read the book was to the story of how/why Gryce left the music business, how pressure from the big boys b/c of his publishing activities-or how his Islamic faith factored in. That part is coming up.. I

I take back the 'plodding' remark, since it seems to have offended. I'm getting a lot of information and enjoyment from this book and have nothing but respect for the authors. I will observe that books of this type-the subtitle is 'the musical life of Gigi Gryce'-function as much as discography as biography, (in this case more discography since Gryce the man left little of a 'paper trail' to piece together a righteous portrait). It's inherently a different type of biography than, say, Robin G. Kelly's Monk book, Monk's life and personality having been such fodder for dramatic reportage. When a book takes the approach Cohen and Fitzgerald do here there is an inherent danger of the pace slowing down with descriptions of all the minutae of every solo of every record date. Maybe that's what felt 'plodding' at times. But this book, taken as a work of great scholarship, I nonetheless have gotten much out of reading. And I regret using a word that offends either the readers or authors of such a fine work.

Had to laugh when I saw this! (The RTF) I miss cover art so....

I don't understand why when I select 'quote' my responses post as part of what the person I responded to said. E.g. the above response to Marcello. It's confusing and frustrating

No thread turned up in the first 3 pages of my search results. Mr. Fitzgerald did the discography, and I presume part of the research. I think they did a great job despite my criticisms. Gigi Gryce was hardly a sexy, romantic, figure a la self-destructive charismatics Bird or Chet Baker, so this has to be about the music and a chronicle of the scene at the time. Naturally the tone is going to be academic. I'm glad Gryce's clean-living ways precluded a bio like James Gavin's handsome-hearthrob-to-scarecrow-junkie Deep in a Dream (Chet Baker bio, and a book I truly resented). I'm just getting to the part where he sets up Melotone publishing. I'm sure the recounting of the heat Gryce, as a black musician caught from record cos. etc. for controlling his royalties and teaching other jazz musicians to do so will provide the real drama here. Sshh-don't spoil it for me...

I know this book is old news---but I searched for and could not find a thread on it here. I'd like comments from those who've read it. I'm almost halfway through and almost gave up after the early chapters due to Cohen's sometimes plodding academic prose style. (For the record I'm a fan and I think he does great work. His website page on jazz in Rochester, NY is a great jazz history piece you won't see elsewhere http://www.attictoys.com/). But I'm glad I hung in. The best chapter so far is Paris the Beautiful, where the Lionel Hampton (big band) tour of 1953 is examined up close. Hampton was a notorious cheapskate and there was dissent among the younger guys like Clifford Brown, Art Farmer, Gryce, Jimmy Cleveland. They weren't featured on the band, were paid badly, and were given other opportunities to record so they snuck out and did record dates. Hamp found out and was furious---causing tension again with the younger faction. But it was amazing to hear that Clifford Brown was involved in a physical confrontation with Hamp's road manager where a razor was pulled and Brownie's shoulder was dislocated. Quincy Jones pushed his shoulder back in. I never heard anything like this before, and Clifford's image is so angelic through the lore you can't imagine him being in a fight---much less with a blade involved. The book can read like a long discography (much like Pettinger's Bill Evans bio How My Heart Sings) at times, but it's a worthwhile read. Gryce the person remains elusive---but maybe that's the point: he was his music.

If Melvin Rhyne never did anything besides the burnin' solo on The Trick Bag on Boss Guitar it would've been plenty. But he did so much more. I can't imagine the Wes Montgomery Trio w/o Melvin Rhyne. As great a soloist as Wes was Rhyne's shadings, great listening, and perfect swing defined the sound of that group. And he soldiered on, Naptown to Milwaukee, quietly playing his ass off in local scenes. The big names get the glory but to me the Mel Rhynes are the true heroes of jazz. There were very few left of his breed, now one less. RIP.

Interesting that John said he was 'stealing from himself'. He was a great writer, but he continued that practice his whole career. A gospel phrase he used on the Gil Evans recording that Gil wasn't on (can't remember the name now) resurfaced on many other pieces--including Counterpoise #2 for trumpet and guitar. Hell, I know the feeling..... Teddy Charles went on to be an in-demand teacher himself (when he wasn't sailing). My C.C.N.Y. teacher Ed Summerlin studied with him. I was over Teddy's place and watched him give a vibraphone lesson. Interesting. Sometime I'll tell the story of my day with Teddy. Hilarious character...

Naturally, in Bb, not concert. Trumpet players think no one but them would be interested......

When a guy I knew named his wedding band office Stolen Moments I saw the handwriting on the wall...

Latest FB post from Tom: Chet Baker got him his first gig in NY. Early '70s at Stryker's, w/Bob Berg, and Joe Jones Jr. Group was called Jazz Express. I'm enjoying these glances back at jazz history. Keep 'em coming Tom! And Joe, if you're interested the entire albums of Aurora and Sail Away are on youtube. Also a beautiful unaccompanied take on Joyspring from Helen Merrill's Brownie CD (dedicated to Clifford Brown).

I took one arranging lesson w/Carisi just before his final illness. He spoke a lot about SW and gave me an assignment I presume was given him: write a piece using one interval (e.g. 6ths). I knew Finegan way better but SW's name never came up for some reason, though Bill spoke a lot about classical composers.

Indeed! Tricotism, yeah!

I think I know who this is. But it's up to him to 'out' himself. Sgcim, you can PM me with your ID if you've a mind to.

I couldn't view it from my cell phone. But it's nice that it was transcribed. Thanks.

I listened again to that Darn that Dream solo. What a gem, like a loving, poetic commentary on the history of bebop trumpet. Harrell students who want to compare/contrast can refer to two previous recorded versions of the tune: Labyrinth (dueting with himself on piano); and, going back to '77, Bob Mover: On the Move. BTW, has anyone noticed how much Tom has been posting to FB lately? Once or twice daily on all sorts of subjects. It threw me at first, in view of his clam-like demeanor on gigs, etc. Didn't seem the chatterbox type, and in interviews always lamented the social isolation his condition led to. But it's great that he found a low-pressure way of interacting with all the people who want to tell him how much his music means to them.

No argument there. Quite a story too. I'm sure the music on this one is deeply felt.

A talented man for sure. I used to hear him at Bradley's and enjoyed his recordings through the years. Did he really have a multiple organ transplant? Jeez, what a rough road back from that it must be.

Anyone know anything about Cables' health? He was supposed to have had a multiple organ transplant not long ago. And he looks a bit frail in the picture. Hope he's OK.

I recommend Stories, Passages, Form, Sail Away. His first leader date back in '75, Aurora, had great stuff on it. Second, Play of Light, also had beautiful playing, good tunes, great band. I did like Labyrinth on RCA a lot. He really stretched on that one writing-wise. His solo on Hot Licks on the Sidewalk is a gem. Then there's the sideman stuff from the '70s on. I'd be writing for hours if I don't settle for a few highlights: Ronnie Cuber, The Eleventh Day of Aquarius; Harold Danko, Coincidence; Bob Berg, New Birth; Rein De Graaf, New York Jazz, Larry Vuckavich, City Sounds, Village Voices; Look to the Sky (two trumpet date w/John McNeil); Paul Robinson, Old Friends, New Friends;---the entire Silver'n series. Enough for now. BTW, nothing wrong with settling into a groove. It's just that I used to look forward to every Harrell recording. What's he thinking about now? Could hardly wait. Now it's more: oh, another Tom Harrell CD. That's nice. Consistency has two sides, I guess.

This is getting wacky. I said I believe Roman Nights is live. Could be wrong though.