Hardbopjazz

I just pulled this CD out today. It is one of my favorites. Alone Together.

What would make this even better if all the performers were playing together live from their respected location. If the bandwidth is big enough you can jam with anyone in the world at the same time. I would liked to have seen this done. Finding out that the track was taken from one location to another lost something for me.

I didn't know that. I would have kept Friday open and went. I work 2 stops from Newark by the Path.

I just listened to disc one of the select. And this guys is a genius.

I guess no one here one tickets to see her at the Vanguard last night. No, she wasn't doing the Monk songbook. She was preforming jazz standards. . The concert was free, but it seems just people with big names (Bill and Hillary) seem to have been able to get tickets. She does possess a great voice and it would have been a treat to hear her take on jazz standards. web site

Have a wonderful birthday Ronald.

Has anyone else checked out any of these episodes on WNET's web site? The Roland Kirk one is great. Soul

I wonder how many of us here remember "Laugh in" from the 60s. I remember this show very well and I always thought Gibson was funny. RIP 'Laugh-In' actor Henry Gibson dies at 73 Updated 8h 1m ago | Comments 33 | Recommend 12 E-mail | Save | Print | Subscribe to stories like this Henry Gibson, who first gained fame on TV's Laugh-In and then played small but memorable roles in a series of films, has died. He ws 73. Henry Gibson, who first gained fame on TV's Laugh-In and then played small but memorable roles in a series of films, has died. He ws 73. By Derrik J. Lang, AP Entertainment Writer LOS ANGELES — Henry Gibson, the veteran comic character actor best known for his role reciting offbeat poetry on Rowan & Martin's Laugh-In, has died. He was 73. Gibson's son, James, said Gibson died Monday at his home in Malibu after a brief battle with cancer. After serving in the Air Force and studying at the Royal Academy of Dramatic Arts, Gibson — born James Bateman in Germantown, Pa., in 1935 — created his Henry Gibson comic persona, a pun on playwright Henrik Ibsen's name, while working as a theater actor in New York. For three seasons on Laugh-In, he delivered satirical poems while gripping a giant flower. Full story.

Sad, RIP Patrick.

Have a great day Dan.

If you want something from recent years try "The Concert for 9/11, Without a Song." This is on Milestones. Also his latest release "Road Shows Vol 1" is a great recording.

Great to see he's still going strong. There is a six minute interview on his website done a few days before his birthday. I just bought my ticket to see him in Philly in two weeks.

The tragedy and majesty of Hank Mobley is a subject that is tailor-made for Frugal Apathy to tackle. The meaning and mission of Frugal Apathy is to bring attention to the prevalent apathy that is choking the joy and growth of art and music out of our world culture. Concerning this all pervasive apathy, Frugal Apathy feels he has a right to comment quite strongly on it, for unlike most jazz writers, Frugal Apathy is a professional (not an amateur) working musician and this subject directly affects his means of providing a livelihood in his chosen profession. To be quite frank about it, very few really value the experience of great art and music anymore. For without the few hearty souls who do, great art and music would be wiped off the face of the earth. For the great majority of people, art and music holds no value unless it makes money. Witness Congress' recent move to cut funding completely for the National Endowment For The Arts (if they had their way). Or the budget cutting all over the country of music and art from the schools. Art and music is seen as expendable because it's about enriching the inner self as well as our culture, not about making money. Cultural activities are deemed valueless. Thus music and art has become a thing that is primarily concerned with the fact that it must be bought and sold, without which it simply can not exist. Success (and thus value) in music is judged by how many recordings are sold. And the absurd part of this is that even if 25,000 people bought your record you are still judged not as valuable as another who sold 1,000,000 records. You are deemed "marginal". The Buddhists have a phrase that they call "honzon" which means 'object of worship'. Your honzon governs everything in your life and is your motivating force because it is what you value most in life. In American culture, our 'honzon' is money. We worship money. Pure and simple. It is what we value more than any other thing. It is what brings us the greatest joy, and we have taught the whole world to embrace our culture of greed and lust for money and the power it seems to bring. The tragedy of Hank Mobley is how grossly he was undervalued during his lifetime. Only after his death has his proper importance begun to be assessed. I will here go on record to take a comment Jackie McLean made about Hank Mobley one step further: McLean said that Hank Mobley "was one of the most lyrical tenor saxophonists in jazz history." I would say that Hank Mobley was THE most lyrical tenor saxophonist that jazz has yet to produce. You cannot argue that it was Lester Young, for Mobley extended and built on Young's foundation. Mobley came out of Charlie Parker, but also Lester Young whom he knew and learned from. I love the story Horace Silver told about the time his band which included Mobley played a double bill in Cleveland with Lester Young. They had a small dressing room where Young had his horn lying on a small table. Mobley came into the room looking for somewhere to lay his horn down. After seeing there was no place for it, he headed out the room. But he was stopped by Young who said, "Lady Hank, come on and lay your peoples next to mine." Now, if that's not prophetic and symbolic of a story, I don't know one better! It was like Young passing the torch to Mobley, by telling him it was okay to lay Mobley's horn next his! Like Mobley had the blessing of the great Lester Young. I feel that Mobley was a jazz innovator equal in stature to Miles or Coltrane in terms of his influence. He was certainly the first mature new tenor stylist in the new hard bop style by 1953-54. Certainly his tenor voice had crystallized and fully formed before Coltrane or Rollins at this point. In my opinion, Mobley was the fulfillment of Charlie Parker on the tenor sax, much in the way Pepper Adams (who as Mobley was equally undervalued) was for the baritone sax. One has to simply listen to the tens of thousands of saxophonists playing in his wake. Yes, you may hear Coltrane in these guys, but you need a grasp and mastery of bop to play like Coltrane and the only way to do it is through playing a little bit of Hank Mobley. He is the personification of the hard bop tenor saxophone style. The man was an innovator, period. All this talk of him being "the middle-weight champion of the tenor sax" did a true dis-service to Mobley and made the average listener perceive him as somewhere in the middle of the pack, but not as important as Coltrane, Rollins or Getz. Yet, somehow I bet every jazz lover has more than one Hank Mobley recording in their collection. You can't help but love how the man played. Hank Mobley always sounded fresh in the genre until his last days and truly never made a bad recording. When I lived in NYC from 1980-88, I can remember one well renowned young saxophonist upon listening to me play put me down, saying: "Oh he's hung up on Bird and Hank Mobley!" I was actually proud of that comment. And I was acutely aware that his motivation was because when he swung it didn't flow right and didn't sound authentic. And he's supposed to be one of the great new players. I remember discussing this with the great Charles McPherson, my mentor. His comment was, "How are you as a saxophonist going to be playing anything greater than what Charlie Parker played? They say that because they can't play it! These guys want to master bop but can't and don't want to take the time it takes to master it the way that you did." I'm also reminded of a comment somebody made to Phil Woods, putting down bop and Charlie Parker. Woods handed him his alto and said, "Here! Lemme hear YOU play some Charlie Parker!" The problem with all of this, the belittling of Hank Mobley and other bop masters as old-fashioned and irrelevant I believe, is the mis-assessment of the true importance of bop. It is not old fashioned nor is a genre that is finished, been exhausted and has nothing new to say anymore as many (younger types) claim. Perhaps if Charlie Parker had lived into the 1960s would this point be clearer. I have often said, bop is a genre of jazz where you use structure to liberate improvisation. You play with complete freedom, endlessly within it's structure. That's why we make so much ado about bop. Where else can you play the same tunes over and over and find new things to play and new ways to play it? That is, if you are truly creative and have mastered the form. That is what is so attractive about bop. Using it's structure you can improvise on a high technical level every time you play it. Ask Phil Woods, George Coleman or Charles McPherson, who are one of the few masters still left among us. Better yet, go and hear them live while you can and you'll see what I'm talking about. The underlying problem about the mis-assessment and misunderstanding of the innovation of bop is appreciating the element of swing. This is a generational issue. Jazz artists born after the seventies perceive swing as old fashioned because it isn't the underlying rhythm of their generation. The pervasive musical rhythm after 1970 is the backbeat rhythm and the many complex variations of it. As it should be, there would be a further evolution of jazz rhythms beyond swing. (I myself am a proponent of odd-metered rhythm in my compositions.) To illustrate this, think of the incidental music one hears in elevators or on TV commercials. In the 60s, you heard tunes, jingles etc. predominately using a swing rhythm; where as after the 1970s you began hear less of it and more rock and backbeat rhythms. This put the jazz artists born after 1970 at a disadvantage to be able to hear swing easily, because in jazz you primarily learn through osmosis. You could only then get it through going back and getting it from the records or older artists. In otherwords you had to work real hard at it and for a generation that wants things quick, fast in a hurry, it became easier and easier to discard the swing and bop. By 1980, with the advent of Reaganomics, the "me over we/hurray for me later for you" philosophy, fueled by the 'honzon' of money, jazz musicians began to make huge amounts of money for discarding swing and playing the backbeat. So now younger musicians began not to even try to master the swing rhythm through it's last evolution, bop. Why? It was more attractive now to play an easier, less demanding music that more people liked that could make you a lot money, then to play a superior music that was harder to master that less people liked and you would probably starve playing. It was a no brainer. And so swing and bop became irrelevant. But to the real jazz players something was not quite right with this decision. I believe because every time they heard somebody like Hank Mobley it sounded really good to them and reminded them what true excellence sounds like. Even Grover Washington originally was a straight-ahead jazz player who was more or less forced away from that path. To justify all of this, guys began to put down cats who continued to swing and play straight ahead. In the case of Hank Mobley, he became consistently underrated, undervalued and his contributions as an original and innovative saxophone stylist and composer became discarded, ignored and judged as unimportant. And this by the very people who recorded him and championed his career, Alfred Lion and Blue Note records. I really don't believe it was done intentionally. But again, the 'honzon' or object of worship of money affected even Lion and Blue Note records. For after the commercial success of Lee Morgan's "Sidewinder", every Blue Note artist was required to include one similar commercial track on their recordings. To add to the confusion due to the advent of the avant-garde in the early sixties, many Blue Note artists' straight ahead recordings were shelved in favor or more modern or avant-garde material, because it was believed to sell more with the public. After all, John Coltrane, the leader of the avant-garde jazz movement had the greatest jazz hit of all time with "My Favorite Things", -a Billboard chart topper. Many of Mobley's greatest works such as "A Slice Of The Top" and "Straight No Filter" were shelved. Had they came out at the time, it not only would have benefited Mobley's career, because every working artist needs a current recording on the market; -it very well could have saved his life. Most of the successful artists are the ones who are extroverts and know how to champion their own causes. Mobley was an introvert and a quiet, personal man who retired to his car during his breaks when he was playing. He rarely pushed his own envelope. That more than any other reason is why he isn't properly more acknowledged. Mobley knew his own worth and was acutely aware of the injustices done to him. Nobody could have explained his plight better than he: "I feel like Charlie Parker" he says, "It's hard for me to think of what could be and what should have been. I lived with Charlie Parker, Bud Powell, Thelonious Monk; I walked with them up and down the street. I did not know what it meant when I listened to them cry, -until it happened to me . . ." Indeed! We love you Hank and your music will live forever. It certainly will pass the 500 Years/Googles Test.*

Why don't you check out the album on allmusic.com. You could listen to 30 seconds of each track and maybe you will know which one you heard. http://www.allmusic.com/cg/amg.dll?p=amg&a...10:jxfuxq9jldte

Why ruin a great '60's moment in time? But I most likely would go see this if it remained true to the original movie. Yellow Submarine First, director Robert Zemeckis took the "The Polar Express" to the North Pole. Now he's making plans to visit Pepperland in The Beatles' "Yellow Submarine." According to Variety, the filmmaker and Walt Disney Pictures are currently negotiating to produce a remake of the 1968 psychedelic animated movie with songs by The Beatles. Zemeckis will reportedly make the movie with the 3D digital performance capture technology he pioneered in "Polar Express," "Beowulf" and the upcoming version of Dickens' "A Christmas Carol." The deal will hinge upon securing the rights to songs from The Beatles' catalog for inclusion in the movie and also a potential stage version. That might be easier than it would have been in the past, since the group's remaining members have recently allowed their songs to be used in projects like Cirque du Soleil's "Love" and next month's videogame "The Beatles: Rock Band." There's no word as to whether or not Paul McCartney and Ringo Starr will have a hand in the remake, but the band was barely involved in making the original. The Beatles only agreed to the movie to fulfill their movie contract, though they enjoyed the finished product so much they agreed to appear in a cameo at the end. Zemeckis reportedly hopes to have his new "Yellow Submarine" set sail just in time for the 2012 Summer Olympics in London. story

Are we going on where the session was recorded or where the artists or band resides?

Bob Crane Richard Dawson Werner Klemperer

Wow 100. Get musician. To bad he ended his life by drinking himself to death. I read a while back he's credited with giving so many jazz musician's their nicknames. Those that come to mine, Billie Holiday- Lady Day. Horace Silver, which just eluded me.

Wow Jimmy Smith with Fred Astaire, Paul Lynde and others. I guess JOS was very much in demand still in the mid 60s. Has anyone seen this show? DATE: October 2, 1965 Saturday 9:30 PM ABC - TV series, One in this series of lavish, vaudeville-inspired weekly variety programs. Guest host Fred Astaire presides over this program and opens the program. Program highlights include the following: the acrobatic Suns Family; comedian Paul Lynde and actress Carmen Phillips in a skit about attempted suicide; The We Five singing "You Were on My Mind"; Rudolf Nureyev and Margot Fonteyn dancing the black swan pas de deux from Tchaikovsky's "Swan Lake"; comedian Jackie Mason with political satire; and Astaire dancing to jazz organist Jimmy Smith's "The Cat." Also includes Andre Tahon's Puppets. Includes commercials.

But I thought at least one of his predecessors, Steve Allen, had lots of jazz guests. Do you mean his two followers? yeah, they are too much into rock and not into exploring anything else. My slip. Branford Marsalis tried featuring players leading up to and coming back from commercials, but Leno's manager killed that. Is that the same as Museum of Television and Radio in NY? B/c they have a hell of an archive of jazz. You have to know how to search, though. Yes that's the place. Jazz on TV almost every week up to the mid 70s. Sad that this is no longer the norm.

Same here.

Alice Cooper Cooper Anderson Hans Christian Andersen

The B side would be something for BFT.

I know we discussed this in the past. Recently I've been going to the "Paley Center for Media" in NYC and watching some old jazz TV programs. Johnny Carson seemed to always have jazz guests. Too bad his two predecessors haven't followed his his path. I wonder how much of the jazz guests were Carson's own requests, or were the Tonight Show's producers jazz fans as well? The museum doesn't have every show because I do recall some shows with artists that I haven't come across in the archives.

Maxwell Silver Hammer MC Hammer MC Chris