fasstrack

Doubly valuable b/c there are hardly any people left who've lived that kind of history.

You guys would enjoy They're playing Our Song by Max Wilk. I just finished it. Beside a piece on Harburg (and his connection to Arlen and other songwriters), there are great interviews with Berlin, Styne. Cahn, Dorothy Fields, Sondheim, et al. It's a must-read for anyone interested in the American Songbook---and that has to include jazz fans.

Wow. From Picasso to Dali...... Some good tunes and players on there. I've never actually heard Mickey Baker. We always used to see his books around as kid guitar players. How does he sound?

As Long as There's Music is beautiful. I love that Hawes opened his ears to younger players and allowed himself to grow. He didn't stay stuck in the '50s or bebop. His roots there were already strong. He just was a developing musician til the end.

He had a lot to say in general, having been there. Bill Triglia's still around, a good thing.

Jimmy Raney told me years ago that Katz had a rehearsal band that he and Marshall Brown played in when I mentioned Marshall. I went to the West End in the 80s to hear a Monk tribute band that Katz led with Lee Konitz, my buddy (before I knew him) John Eckert, and Leroy Williams. I remember Katz saying at the end of the gig---and not looking very pleased---'let's play a couple of chorouses of "Nutty" and go home'. Maybe he was tired. It was a good band. I'm sure Phil Schaap eulogized him. He was a frequent Bird Flight guest. I didn't know Dick Katz myself, but I am sorry to see him go. Every time a good musician from his generation goes all the history of his playing life goes with him. And they are few left from those days.

Advertising dollars. Is that a joke or do you mean that reviewers are really under economic pressure to give everyone they review a pass in these ezines? B/c if that's the case it was be almost equal to payola. AAJ pays? News to me. There are probably less nefarious reasons why the level of music journalism there is generally so terrible (with a few exceptions). All the interviews are long tongue kisses. The reviews are just as I said. It really is basically an adzine. So the reviews and interviews seem in keeping with the purpose of the zine. Fred Jung is good, though. Nice interviews with Tom Harrell and Phil Woods over the years. But generally this is not a very in-depth site. But, hey, they have a musician listing and I actually got a student through it---after 5 years or so! So there's some free ad space for me........ The only lesson here: the power of the web to reach people cuts deep indeed.

Advertising dollars. Is that a joke or do you mean that reviewers are really under economic pressure to give everyone they review a pass in these ezines? B/c if that's the case it was be almost equal to payola. Did anyone else notice that particulary in All About Jazz the reviews all seem friendly to the point of approaching sugar-coated? There are scores of CDs reviewed every month. How can all these people be so great? No disrespect to my fellow musicians, but it makes you wonder.......

There is nothing wrong with intelligent commentary on music. A lot of it isn't, though, and listeners often buy uninformed opinions. Also, a lot of reviews on publications such as All About Jazz seem superficial and to give everyone a rubber stamp thumbs up. Not sure what's up with that, but if you are giving your opinion better to get more in-depth and if you don't like something have the balls to say so---as long as you can defend your position knowledgeably. In the end critics are most valuable to say who is playing in town and where. They are not promoters and have also never been able to outvote popular opinion on people like Chet Baker, Miles, Getz, etc. who many of them railed against the minute they became popular. 'Spell my name right' and let the people make up their own minds once they hear the music.

Elliot Lawrence was a participant at a recent event at the NYPL Bruno Walter auditorium. It was a syposium on the work of Broadway arrangers, orchestrators, and conductors. Jonathan Tunick, Sid Ramin, Hal Prince, Sheldon Harnick, and others also took part. Mr. Lawrence has written for Broadway for years. His colleagues showed great respect for his work. I wanted to ask him about the Mulligan connection, but it wasn't the right time or place. I met him briefly afterwards and he was very nice. We spoke briefly about Bill Finegan----since Finegan partner Eddie Sauter was brought up as a Broadway writer, and spoken about with great reverence. So a lot of jazz arrangers (Billy Byers the most notable) found viable careers writing for shows.

Happy birthday, Paul . Let's get together with Eddie and throw a brew back next time I get up there.

I'm lucky to live in NY and have my pick of people to use. No one ought to put up with bullshit. There's no need. Once I had a hot shot organ player blow off my gig w/o so much as the courtesy to call me. 'Oh, er, I have a big gig this week. Sorry....' I had to call him. Guess who I'll never hire? You do that enough---be discourteous---it will catch up with you, and arrogance is no insurance policy. I learned a lot being a bandleader and now I can smell trouble. Fortunately, like I said, there are so many good people here---and I've worked with them before and know they are cool. My only advice: don't confront, just write down 'bad apple' in your mental pad and move on.

His son Raphael lives on and is a good pianist. I see him around the Village all the time. The old Village gate is now called Poussoin Rouge, or something. They have live events, but it's kind of 'edgy' cabaret. No more jazz.

There's an absolute renaissance going on in NY right now. Last night I heard my colleaugue James Chirillo with the John Bunch Trio (other member being Jay Leonhart). It was a delight. Most Mondays try to hear Howard Williams' big band at the Garage. I highly recommend them. Howard's writing and the players (and Vicki Doney, vocalist) really are worth it. Fat Cat has excellent bands every night for $3 admission! Plus they are great guys and it's my hangout. Super cool joint.

That's what Tom does---and he just keeps going. I planned to go Sunday but couldn't spare the $35. I have plenty of thrilling memories of Tom, though. Been hearing him in NY since the late 70s---you should have heard him then. He messed everyone up! (Go find the youtube videos w/Horace ca '74-'76 to get an idea.

I only went there to stay with my bro after I lost my apartment. I knew that would be a disaster, and was it ever..... The drama was what would happen after I came back. Definite rough patch from early Sept. for a minute. But I rode it out and things are looking up.

Joel, man, I'm sorry to hear/read this--had no idea things had gotten so bad. I'm delighted to hear things are on an upward trajectory. This is completely cool--please keep us posted on your gigs. It was a treat to hear you and your friends that night at Smalls. It was great that you came. I think my next spot at Smalls will be as solo guitarist. Meanwhile, I have a quintet gig in Dec. at Fat Cat with some of my favorite musicians and showcasing some writing----and things coming up next year at Cleopartra's Needle, one of my favorite places to play in NY. It's great to make friends on the web. Bless this site.

I just wanted to give an update----and a comment on keeping your faith and focus, and the therapeutic value of music. I have been open about some real problems I had recently: abject poverty that bottomed out with me spending 10 days in a city homeless shelter over the summer. Well, I'm happy to say I am doing much better. I have a place to stay and a permanent apartment---in a situation where I could live as an artist w/o too much financial pressure may be a reality in the somewhat near future. (I don't depend on anything, though, and have contingency plans). The main thing is I have some gigs to look forward to (I will list them as they occur). I teach on Saturday, play a Jazz Vespers at a church where the pastor is a jazz saxophonist. The main thing is I decided what I was meant to do is play---and I don't wait for anyone to call me. I take the guitar out everyday, play in the street (which has led to gigs and even a recording) show up where my friends are playing, meet musicians, and basically try to play all the time. I don't have the anxiety and worry I did before about making a high rent, so my playing is more relaxed and so am I. We have to keep our faith in ourselves through the toughest times. I'm lucky to have great friends, too. Music has been a great tonic in my life, and if I just focus..............

If this is the newest book just out I just gave it a thorough perusal today, and it seems excellent. A lot of good interviews and it seems well-researched. I plan to read it cover-to-cover.

The fallen Nigerian princes and people that write notes in bad English offering to buy my sale items with a cashier's check I can just delete. Ditto announcements of my British Lottery winnings ('just give us your credit card # and a kiss, mum'). What annoys the f**ck out of me are the following: "Friends" who only1. send gig announcements or notes telling me all about their great new CD featuring Jesus Christ on congas---without ever sending a personal note asking how I might be. Just touch base, don't use me as a promotional doormat. 2. send mass mailings of jokes, etc. after I ask them not to. I spam folder 'em and the little suckers come right back. I basically want to use email for personal or professional messages, period. But people....................Why, I oughtta.....

That makes her younger than me. Very sad......

He was not well when he made that and it was never finished. But his dark sound and musical coherence compared to the more famous Lover Man date make this a better document IMO of a great artist triumphing over personal anguish.

I would reconsider that one. I used to have it. Agreed, some of the backgrounds are hokey and probably were added later. But there's a calypso, Little Tracy, he plays his ass off on. It was a in a book of transcriptions, too, as I recall. There was a ballad that was good, too. Nocturne? Anyway, Verve probably pressured him in some way or promisied a date more to his liking---I'm guessing. On a lot of these dates, even on Blue Note, companies/producers required the players to put at least one boogaloo on a session. Cats did what they had to and there still was good music (case in point: Hank Mobley: Thinking of Home----which wasn't even released til after he died)---a tribute to their talents.

About this we fully agree. As for the Wynton comment, because that's how I feel about his music. it's my opinion, not an attempt to be inflammatory. Funny, I was pretty hard on my description of Monder and very critical of Donny McCaslin, but that's not taken personal. I mention Wynton and I'm being negative. Perhaps we're accustomed to read into such statements. Player or audience, listen. About that we agree. Let me ask you, if Dexter Gordon were playing in sweat pants, would you listen? If Kenny G were playing in a tuxedo, would you listen? I didn't take it personally. I'm neither, you may have noticed, Wynton Marsalis, his agent, or his attorney . I just didn't want to open that can of worms. For the record the encounters I have had with Mr. Marsalis have been very pleasant and I admire him in many ways. I just don't want to veer off into a pro-Wynton---anti-Wynton thang. We've all had enough of that. Listen, man: I understand your passion and agree with some of your comments. It just was coming on a bit intense, which I'm sure was not meant to be inflammatory. So no offense taken here. Don't know much about McCaslin or Monder (I've met him, we're both guitarists and have mutual friends) except that they are good players, and that's always a good thing. I guess what I'm saying is that in my band I dress nicely and expect others too. Other bandleaders can do what they want---it's their business. I was just giving my opinion. Ain't no thing. Gotcha. That's totally legitimate. I don't typically dress like a slob, myself, though I won't say it's never happened. Play a lot of bar gigs and venues where it just doesn't matter (very much on the Bohemian side of the equation). I've played gigs in a suit that were bullshit, and I don't like to play bullshit, which is probably where the tense overtones come from. Understood, bro

About this we fully agree. As for the Wynton comment, because that's how I feel about his music. it's my opinion, not an attempt to be inflammatory. Funny, I was pretty hard on my description of Monder and very critical of Donny McCaslin, but that's not taken personal. I mention Wynton and I'm being negative. Perhaps we're accustomed to read into such statements. Player or audience, listen. About that we agree. Let me ask you, if Dexter Gordon were playing in sweat pants, would you listen? If Kenny G were playing in a tuxedo, would you listen? I didn't take it personally. I'm neither, you may have noticed, Wynton Marsalis, his agent, or his attorney . I just didn't want to open that can of worms. For the record the encounters I have had with Mr. Marsalis have been very pleasant and I admire him in many ways. I just don't want to veer off into a pro-Wynton---anti-Wynton thang. We've all had enough of that. Listen, man: I understand your passion and agree with some of your comments. It just was coming on a bit intense, which I'm sure was not meant to be inflammatory. So no offense taken here. Don't know much about McCaslin or Monder (I've met him, we're both guitarists and have mutual friends) except that they are good players, and that's always a good thing. I guess what I'm saying is that in my band I dress nicely and expect others too. Other bandleaders can do what they want---it's their business. I was just giving my opinion. Ain't no thing.