Mark Stryker

I was discharged from the Army in March 1959. I grew up in Detroit and so returned home to Detroit when I left the Army. Joe Henderson was in Detroit at that time and i had the opportunity to see this basically unknown tenor player at a local club playing with local Detroit musicians. Sorry to say I don't recall their names or the name of the club where I saw Joe a number of times. I do recall that I very much liked his playing. Not long after Joe left Detroit to go to New York. He asked a friend of mine to keep some of his personal things until he got situated. It turned out that Joe did not claim those things far a long long time. There is a fabulous picture in Lars Bjorn and Jim Gallert's book "Before Motown: A History of Jazz in Detroit, 1920-60" of Joe leading a quartet on the tiny bandstand of the historic Blue Bird Inn in 1958. The rest of the band is Kirk Lightsey, Ernie Farrow and Roy Brooks. All the cats are in jackets and ties -- Joe is wearing a bow tie and shades. Maybe if Jim Gallert is reading this (he's a member), he wouldn't mind scanning the photo and posting it.

I did not know Joe outside of a single phone interview in January 1996 that lasted at least 90 minutes in which he was completely engaging and loquacious, which surprised me given all the things I had heard about him. The portrait drawn by everybody I talk to about him is as a quirky (yes, enigmatic) personality who was all music. Bennie Maupin, who often practiced with him in the late '50s when Joe was studying at Wayne State in Detroit, told me that when he would go over to Joe's apartment, there'd be nothing but a mattress, ironing board and a few chairs. Maupin said, "It was like he had a secret and never shared it." Joe earned the nickname "the Phantom" from other musicians and that says a lot. I've heard stories from people who studied with him of marathon lessons during which he might disappear in his house for up to an hour. One former sideman told me that once in an airport Joe started calling out chess moves and it took her a minute to realize that he was trying to engage her in a game of "air chess" without a board. "Joe's easygoing, but he runs his world exactly the way he feels at the moment," she said.

There's nothing within walking distance of Hart Plaza, if that's where it still is. Seriously, Detroit is empty. You'll be lucky if you can find a restaurant. I think there may be a Hard Rock Cafe a few blocks away, and there is Greektown along with the casino, but I'm not sure of the distance. This is completely false!! No, downtown Detroit is not a walking mecca ala Chicago, but there are a number of good options. Next to Hart Plaza inside the Renaissance Center, there's Andiamo's (Italian) and Coach Insignia (steak house). Across the street from the Ren Cen, is Tom's Oyseter Bar (seafood). Widening the circle to a short walk from the festival site, inside the Book Cadillac Hotel, there's Michael Symon's fantastic new place called Roast (inventive contemporary steak house with other options besides red meat too); across the street from the Detroit Opera House near the ballpark is Small Plates (tapas). Also nearby is Vicente's Cuban Cuisine. A slightly farther walk gets to the MGM Casino where there's Michael Mina's excellent seafood place Saltwater and other options. The Greektown strip is within walking distance and offers the usual fare. There are other casual sports bars/burger joints around, especially around the baseball and football stadiums. Cliff Bell's, an art deco bar, has jazz and food. It's tucked behind the Fox/Filmore theatres and it's at a distance that I probably wouldn't walk at night. But it's within shouting distance. The museums are not within walking distance -- you'd need a car or cab. Unfortunately, the Detroit Institute of Arts is closed on Tuesdays, but I think the Motown Historical Museum (in Berry Gordy's original Hitsville home) is open on Tuesdays. Again, that's a car ride. One thing to think about is the Henry Ford Museum and Greenfield Village, the incredible Smithsonian-like collection of Americana, is in Dearborn and on the way to the airport. So, assuming the museum is open in the morning, you could shuttle out to museum, check bags, hang out, and then continue on via cab to catch a flight. so, my post was not completely not false at all. You fleshed out what I said. The Opera House is, what, 10, 12 min walking distance from Hart Plaza? Is the Ren Cen even open in the evenings? It didn't seem like it was the last time I was in the area. Well, you said, "There's nothing within walking distance of Hart Plaza" and "Seriously, Detroit is empty. You'll be lucky if you can find a restaurant." Those statements are indisputably false. I listed seven restaurants within walking distance of Hart Plaza. Three are within three to five minutes, two are about 10 minutes away and two are about 15 minutes. Some of those that are actually closer if you're walking from the northern part of the festival site at Campus Martius/Cadillac Square. Of course the restaurants at the Renaissance Center are open at night. And I'm not including a bunch of other restaurants, including bars with food, etc. Beyond walking, there's also the People Mover monorail system that widens the circle further. Look, I'm not sugar-coating the state of downtown Detroit. I get it more than anybody -- I work down here everyday. But "nothing within walking distance of Hart Plaza" is simply untrue.

There's nothing within walking distance of Hart Plaza, if that's where it still is. Seriously, Detroit is empty. You'll be lucky if you can find a restaurant. I think there may be a Hard Rock Cafe a few blocks away, and there is Greektown along with the casino, but I'm not sure of the distance. This is completely false!! No, downtown Detroit is not a walking mecca ala Chicago, but there are a number of good options. Next to Hart Plaza inside the Renaissance Center, there's Andiamo's (Italian) and Coach Insignia (steak house). Across the street from the Ren Cen, is Tom's Oyseter Bar (seafood). Widening the circle to a short walk from the festival site, inside the Book Cadillac Hotel, there's Michael Symon's fantastic new place called Roast (inventive contemporary steak house with other options besides red meat too); across the street from the Detroit Opera House near the ballpark is Small Plates (tapas). Also nearby is Vicente's Cuban Cuisine. A slightly farther walk gets to the MGM Casino where there's Michael Mina's excellent seafood place Saltwater and other options. The Greektown strip is within walking distance and offers the usual fare. There are other casual sports bars/burger joints around, especially around the baseball and football stadiums. Cliff Bell's, an art deco bar, has jazz and food. It's tucked behind the Fox/Filmore theatres and it's at a distance that I probably wouldn't walk at night. But it's within shouting distance. The museums are not within walking distance -- you'd need a car or cab. Unfortunately, the Detroit Institute of Arts is closed on Tuesdays, but I think the Motown Historical Museum (in Berry Gordy's original Hitsville home) is open on Tuesdays. Again, that's a car ride. One thing to think about is the Henry Ford Museum and Greenfield Village, the incredible Smithsonian-like collection of Americana, is in Dearborn and on the way to the airport. So, assuming the museum is open in the morning, you could shuttle out to museum, check bags, hang out, and then continue on via cab to catch a flight.

Read this is the Times' Sunday Magazine and found it fascinating: http://www.nytimes.com/2010/08/29/magazine/29language-t.html?_r=1&ref=magazine

Man, I've never even heard of this record! What does it actually sound like? Also, from the Eric Larrabee review in Harper's that Jim posted: "The normal emotional atmosphere of the jazz world is one of ferocity slightly tempered by paranoia ..." First thought: I wish I had written that. Second thought: Ouch, cutting kinda close to the bone ... Third thought: I might remove the word "slightly." Of course, to borrow an old line, just 'cause we're paranoid doesn't mean they aren't out to get us.

Thanks for checking. Mulgrew himself estimates the total at 500, which sounded high to me and as always with these things its better to have documentary evidence if possible. Still, if you figure his recording career dates back to 1980, that's an average of 17 recordings a year over the span of 30 years -- certainly possible for one of the most recorded musicians of his generation.

I keep looking for a hat like that. Most porkpie hats seem to have narrow brims. Getting tired of the parade of depressing news. Never met him but was told by many that he was a very sweet and classy guy and, of course, a brilliant photographer with such a sharp eye not only for personality but theater, governed by impeccable taste and sensitivity to jazz. William Gottlieb was really more about "capturing the moment" as a journalist, though his finest images ascended to the level of art in terms of defining personality and formal composition. But Leonard was an artist fundamentally, making portraits with a sharp eye not ony for personality but theater and drama and creating compositions that mixed myth and metaphor, including, of course, his trademark back-lit cigarette smoke. I'm very proud to own a large format Leonard photograph of Thelonious Monk (the familiar shot looking through the open piano as he's composing, pen in right hand, cigarette in left hand) that my wife bought me as a wedding present from a Chicago gallery 19 years ago. On the issue of the search for a porkpie hat with a wide brim, you almost surely need to go custom. I recommend Optimo Hats in Chicago. Graham and his team make some of the best hats in the country. It's not cheap (understatement), but you can get exactly what you want and the quality is second-to-none. Checking the website I see this model that would seem to be in the ballpark, though you can specify any brim size you want. http://www.optimohats.com/felt/flattop/

http://www.nytimes.com/2010/08/17/arts/music/17jazz.html?_r=1&hp Edit to add posted audio clips: http://www.nytimes.com/interactive/2010/08/17/arts/music/savory-collection.html

I've got a favor to ask of anyone who might have access to Lord (or perhaps another source of current discography information). I'm trying to get a ballpark figure for the number of records that Mulgrew Miller has appeared on. More than 100? 150? Less? More? Online sources I've seen appear to be missing big chunks so I thought Lord might offer some accuracy. Thanks much.

Coda: Bunky Green, Julius Hemphill, Oliver Lake, Henry Threadgill (perhaps more as a composer, and from what you might call the younger generation, Kenny Garrett and Steve Wilson.

When I played, it was Jackie McLean's sound and conception that was the strongest voice in my ear, but the list of favorites is long and varied: Charlie Parker, Ornette Coleman, Frank Strozier, Sonny Stitt (at his most inspired), late Art Pepper, early Charlie Mariano, Charles McPherson (the way he plays today), also with great appreciation for Cannonball Adderley, Jimmy Lyons, Sonny Redd, Roscoe Mitchell, Arthur Blythe, some Lee Konitz, as lead players in a section: Marshall Royal and Jerome Richardson) ... many others

All: Thanks for the good wishes.

Seems as if the discography may well have it wrong. Interestingly, the LP I saw today (but did not buy) had a cover identical to that which Marcello's link produces, but Hayes was definitely listed as the drummer. I don't recall the label, nor whether a more specific recording date is given beyond 1969 in Milan.

Anyone heard this or know anything more about its provenance? Odd that Louis Hayes is here given the date but perhaps he rejoined for just a quick one-off gig. Nat Adderley (cor) Cannonball Adderley (as) Joe Zawinul (p) Victor Gaskin (b) Louis Hayes (d) live in Milan, Italy, 1969 The Scavenger Joker (J) UPS 2057 Sweet Emma - Ballad Medley - This Here - Manha De Carnaval - Walk Tall - * Cannonball Adderley - Alto Giant (Joker (J) UPS 2057)

With Harold Arlen: She sings in these clips: (obviously lip-synced) she doesn't sing in this segment, but there's a long George Carlin newscaster bit that captures his pre-counterculture style. interesting stuff, including an weirdly prescient joke about the Giants trading Willie Mays to the Mets (show was recorded in 1966), which in fact happened in 1972. also the fact that he's performing for an audience of uniformed soldiers in the context of a host stumping on various occasions for the Vietnam drives home the disconnect he spoke of often in later years between his material and his real feelings at the time.

In a word: yes.

http://www.youtube.com/watch?v=PUCe5OaKldM&feature=related Another fave in honor of this thread and July 4: "The Declaration of Independence" from Stan Freberg Presents The United States of America, Vol. 1" (Capitol) There's an unfortunate skip in the recording used so you loose a great line during the song. Per one of the comments, here's the missing text: Jefferson: Come on and put your signature on the list! Franklin: It looks to have a very subversive twist! Jefferson: How silly to assume it! Won't you nom de plume it....... today?!

http://comedyspace.punchlinemagazine.com/_Bob-Newhart-Abe-Lincoln-vs-Madison-Ave/VIDEO/114895/10058.html One of Newhart's classics and very prescient: "Abe Lincoln vs. Madison Avenue" from "The Button-Down Mind of Bob Newhart"

Never knew this existed. Is Vaughn Meader in this picture? Always thought the First Family stuff was pretty lame, actually. No satire, just sitcom-safe jokes with Kennedy accents, though I always liked the distribution-of-bathroom toys bit and the punch line: "The rubber swahn is mine." This is a lot darker than that. Between '63 & '71, Meader...uh...."went through some changes"... To summarize the album, Jesus comes back, starts out being rejected as a freak by all but the hippies, then gets an agent who spies novelty appeal. Then he becomes a star, starts speaking his mind, becomes uncommercial, and finally gets killed/assassinated. More commercial potential dead than alive. And yeah, it is funny. Plot not unlike the film "Network" with Jesus as the Howard Beale character and Faye Dunaway as the agent. Not an exact parallel but interesting.

What would the words to "Fables of Faubus" sound like with a Boston-Kennedy accent?

Never knew this existed. Is Vaughn Meader in this picture? Always thought the First Family stuff was pretty lame, actually. No satire, just sitcom-safe jokes with Kennedy accents, though I always liked the distribution-of-bathroom toys bit and the punch line: "The rubber swahn is mine."

Lenny Bruce reportedly decided to perform his previously scheduled concert the night of Nov. 22 in New York and was left, of course, with the dilemma of what to say -- how to be funny -- in the immediate wake of the tragedy. The story is that he found his answer by digging into his hipster roots. He walked out, waited a few moments, shook his head from side to side in a sympathetic gesture and said, "Whew! -- Vaughn Meader."

I love this record! Anyone who hasn't heard it can sample here: http://www.howtospeakhip.com/ Del Close was something else, man.

Mark - I think much credit must also be given to the now almost forgotten Stan Freberg whose satirizing of hit records of the day, and tv shows like 'Dragnet' were such a break-through in the early 50s...even on 78 rpm! Although best known for things like ' The Banana Boat Song' and 'Sh-boom' his real genius was apparent in his short lived radio series, still available, I think on CD. His 'Incident at Los Voroces' based on the situation in Gaza at the time was obviously too much for his network. And then there's the politically correct 'Elderly Man River'.... Great stuff. To take nothing away from Freberg, I think of him more as an important precursor to the modern era of comedy recordings, because his hits were singles and not LPs and he wasn't a stand-up comedian in the sense of the new wave and thus was connected more to earlier parodists/satirists. Having said that, Freberg's masterpiece, "The History of the United States, Volume 1," from 1961, is loaded with inspired lunacy and brilliantly orchestrated by Billy May. Especially great is the duet between Franklin and Jefferson about the Declaration of Independence ("A Man Can't Be Too Careful What He Signs These Days") and "Take an Indian to Lunch"