fasstrack

When I post by cellphone I get error messages that it's not posting, so I send it again. I deleted the 'overage'. Now I'm writing from a computer and I tried to answer Joe and it looks like I'm responding to everyone. Confusing.

Interesting. I felt he was sort of leveling off---but in a nice way. I loved his earlier compositions (like The Water's Edge, Rapture, Open Air, Sail Away). Wasn't crazy about the last two on RCA (Paradise and Wise Children). I like the High Note stuff, but it seems there's a sameness to the recordings and I don't find the melodies as memorable as earlier ones. His playing is fine---also kind of leveled off. I'm speaking as a long time admirer who's followed TH closely and learned a lot of those tunes. My links in other threads are not always embedding either. I know not why. Fasstrack, you need to work on your v-i changes.

Well, I'm having technical difficulties today! The first two paragraphs here are my response, followed by Marks's original post. Confused? So am I

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

That first Johnny Guitar Watson cover---OMG! Don't think Superfly would even f with him. Smug indeed...

Interesting. He didn't seem an idiot savant to me at all in the film, just sort of pristine and unmoved by all the fuss. He had gotten over it (lack of commercial success, etc.) years ago and seemed happy with his working-class life and the family he'd raised.

Marshall was a hell of a guy. I was in his Wednesday workshops ca 1980-81. He had a studio on W. 72nd Street between Broadway and West End Ave. Marshall led usually a two-horn frontline with rhythm. Hod O'Brien played with us. Dave Hofstra was on bass. It was a great experience for me. Marshall would tape the sessions, then critique everyone. His critical ears were on the money and he definitely did not mince words. Got me to play 4/4 rhythm guitar---which made a big difference in my conception. There was a piano student, Timothy, he was absolutely death on for all the unmusical things he'd do. 'No, no NO, Timothy!' By the end of the tirade Marshall would be frothing and his face purple. Poor Timothy would hang his head, but he learned---as we all did. He would sit in his reclining chair afterwards and tell stories about Clifford Brown sleeping on his couch, Basie rehearsing in his studio, Ronnie Cuber putting up the ceiling tiles, etc. A great teacher and a loud, larger-than-life character. He deserves a biography.

I saw the documentary when it played NY this past autumn. I recommend it. It's a heartwarming story and Rodriguez comes across as a humble, unaffected guy. In a recent Time magazine interview he seemed exactly the same: like he could care less about fame. Still living in the same spare house in Detroit and probably doing construction jobs. The music wasn't my thing exactly, but I went for the story---and I dug where his songs were coming from politically. It's anyone's guess why they didn't resonate in the US back then. Overcrowded market, I suspect. Maybe with the accolades over the film he will at least collect past due royalties now.

Thanks. I didn't know about material with Nat Adderly, Gary Bartz, or Quentin Jackson. Was that a different date? Jimmy Smith was on the '75 recording I know. BTW I've heard Ellington returned the compliment, citing Burrell as his favorite guitarist.

Did anyone mention Ellington is Forever? If so I missed it. I had it on vinyl-2 LP set. Came out in 1975. A beautiful example of what a mature, focused leader Kenny can be, especially on a pretty ambitious date. This is a recording with no fat or waste and a loving tribute. And Kenny lets the guitar subtly lead but without dominating. I dug that Joe Henderson was picked for this-shrewd choice. Also in the cast: Thad Jones, Snooky Young, Mel Lewis, Ernie Andrews. Grab this if you don't already own it. (Make sure the CD corresponds to the original double LP. I've seen 'volume one' on CD, which may not have all the tracks).

Thanks!

I was glad to see this online some days ago. Saul is a NY crony of mine and is a super-talented guitarist (also very good on piano) flying under the radar for a long time. The Rollins gig is giving him well-earned exposure. I know he was thrilled to join Sonny's group (who wouldn't be?) Lotta dues preceded, and I'm happy for him. There's a youtube video of Sonny, with Saul on guitar, playing St. Thomas at the Detroit Jazz Festival last summer. I can't post it, not being at a computer. Perhaps someone else can?

Unfortunately I'm not at a computer now, but will give it a listen when I am.

I know Benson admired Tal, as Wes Montgomery did. Tal was pretty amazing, with incredible ears and hands. I never detected a direct influence on Benson though. Tal's pretty hard to imitate anyway. The only guitarist I heard use some of Tal's type of lines and phrases, only more relaxed, was Barry Galbraith when he soloed. And Tal also played more intervalically and less scale-wise than Benson, who also has more of a blues feel. Two great players, apples and oranges.

Larry, I heard Tal a lot live around the same period, the 80s. I was at the Public Theater performance that was filmed for the documentary Talmadge Holt Farlow, and heard him a lot in clubs. His inventiveness never ceased, but his control of time was pretty abominable, sorry to say. He was rushing and it was out of control and hard to listen to-a drag in view of the fantastic harmonic content and ideas. I enjoy and admire Tal, but I can't lie.

What they said...ya big lug!!

I'd go with the two earlier a capella recordings. There were, I believe, also two Christmas a capella dates. Puerling's arrangements are already so lush (though brilliant) and there's so much vocal tracking already that an overbaked big band on top is like-to quote Sondheim on recitative-chocolate sauce poured over everything. I also really like In Tune w/the Oscar Peterson Trio. (on MPS) Raposo's Sesame Street Theme may be definitive. It Never Entered my Mind is a standout, too. Bonnie Herman is so understated. The main thing: singers and trio stay out of each other's way.

Just want to revisit this to say what a class act this recording is, not just the music but the reminiscences, the packaging, etc. I don't remember Wes sounding happier-I don't mean better, I mean happier-than being home here playing w/his brothers and buddies He's really down w/it, taking all kinds of chances, having a great time.. I always got the feeling that in his success years-that he worked so hard for and deserved-he was probably awfully homesick or anyway nostalgic. I remember Wes telling some interviewer in later years 'you know, I don't HAVE to play'. Maybe he meant if the stress and grind got to be too much, the hell with it. He could always go back home where those good times happened.

The swinging stuff is kick-ass on there, w/Eric eating up everything Oliver wrote and making Oliver dig deep too-w/the safety net of that world-class rhythm section. But my favorite moment is Images. The mood it creates is almost eerie, and nocturnal or otherworldly. Oliver's vibrato makes it sound REALLY strange. Just great writing the way the melody and changes rise an fall in an arc while the rhythm players bring the mood he created all the way out. Beautiful work by Richard Wyands there, in support and esp. his solo.

Geez, that is one f'ed-up picture though. Poor guy...

Max Aaronson, an early cowboy actor was the Yodelin' Yid. Also went by the Hasid Hayseed. And that's more than enough of this...

There already was a yodelin' yid. Sorry to disappoint you. Only I can't remember who it is that used that handle. Someone on WBAI I think. The late Citizen Kafka?

Pissed off old men! Bullseye. Screw alliteration. THAT was funny..

Well, I guess the guy has a point. Gerber wrote the book, I just read parts of it. Maybe he IS obsessed w/ethnic identity, who knows? He seemed gracious in correspondence, and willing to listen to other points of view and take well-meant criticism. Me, I'm just a musician, not hung up on this stuff at all. It's tiresome when some musician wraps him/herself in whatever ethnic identity, and usually reeks of musical shortcomings. Be proud of your roots if you feel that but don't make it a 'thing'-that's a potential music-killer. Still I thought the writer went a little far in trashing Gerber for having that type of radio show. As long as he's up-front about his views, and especially if the music's good, what's the harm?