Quasimado

OK Larry, I can see your point(s). I doubt, however, if any editor would have been able to persade Ind to drop references to Reich (which some may feel weakens his general thesis). As you know, he has always been outspoken concerning him, so I can't imagine him not including him and his influence on himself and others associated with LT at the time. The Mingus thing, well, I would have thought that his Atlantics WERE comparatively successful, and that Ind thought they were trying to capitalize on that, rather than developing the relationship with Lennie. Concerning LT himself, I had a friend who worked with him for several years, and his impressions of the man pretty much substantuate Ind's. Finally, while the others may have spoken in general terms about Tristano's teaching and philosophy, Ind's account made it fall into place, for me, at least ... so I'm ready to overlook areas that may irritate others. Q.

That's quite a dis for a "worthwhile book"... Better to look at what Ind believes to be the crux of the matter; the importance of really internalizing the "harmonic flow". It is this that gives rise to is Tristano's much misunderstood, but crucial, distinction between "feeling" (Id) and "emotion" (Ego). This is THE timeless artistic reference point... (IMO) Q.

In essence, according to Ind’s book, Tristano’s method was that students immerse themselves in the “harmonic flow”. Accordingly, they perfected all scales (major, minor, fixed melodic minor ascending) through the cycle of fourths, and then worked on chords and chord extensions utilizing this same order, until they had internalized the natural “harmonic flow” through all keys. They also learned to sing, then play, standards in all keys, and the solos of the great instrumentalists (Lester, Bird, Roy etc,) who, Tristano felt, intuitively played in this way. Exercises to develop rhythmic freedom/ independence were also practiced. Perhaps the important point is the “harmonic flow”. By becoming immersed in the flow, the musicians were able to play intuitively, allowing for pure musical expression, rather than some more conscious form of (self) expression. This would seem to be the basis of Tristano’s Feeling (Id) and Emotion (Ego) dichotomy. Makes sense to me. Just to be sure, it would be better to read the book… you will also gain some insight into the author... Q.

Thanks. Now I know what to track down ... Q

Would anybody know of anything with Billie singing live with Duke and the Orchestra? I once heard a wonderful track - I think it was *I Cover the Waterfront*, on a rather obscure compilation type LP I have never come across since. I'd be most grateful for any information ... Q.

Peter Ind's new book *Jazz Visions - Lennie Tristano and his Legacy* is now available from Equinox Publishing in the UK. It has a detailed examination of Tristano's approach to improvisation, as well as a portrayal of the man as Ind knew him - essential reading for any one interested in Tristano, or in improvisation generally, for that matter. Q

Warne Marsh *Live at Dana Point* on VSOP: - The Things I love - Dahoud Q

Just beautiful... everybody is at their best. Bird gets better and better as he warms up. His short solo on *Hot House* has that “full grown from the head of Zeus” quality Jimmy Raney talks about in Reisner’s book… unbelievable! Q

My time frame was way out. Let sleeping dogs lie. Sorry Diz. Q

Fats? It's the truth. The other? See the In Print forum. Actually it started late last year... Q

Heavy couple of weeks for Diz on these forums...he's been accused of cutting at least 2 people, physically abusing a female (who apparently then KO'd him), of being bisexual, and now of giving Al Haig a hard time. To my ears only Fats plays better ... Q

A copy of the Konitz/ Tristano/ Marsh *Live at the Half Note* from the *Look Up and Live* series appears to be available in some capacity (along with a lot of other jazz on film), from MacDonald and Associates: http://www.macfilms.com/jazz.htm Q

*The Winds of Marsh* with the Warne Marsh Quintet on Imperial. This is an original stereo version of *Jazz of 2 Cities*, with a cutesy cheese-cake cover... but the music, with spliced-in alternative solos, is just beautiful. Q

*Jazz Visions: Lennie Tristano and his Legacy* by Peter Ind, will be published 9/1/2005 by Equinox (UK). Q

Peter Ind has a new book on Tristano which is due out in June. Q

There are at least 2 versions of the track "Nostalgia". Both are essential. Q

I don't know Allan, but I would certainly second Don Ferrara. I recently heard some tracks on Philology he made with Lester at Birdland. The guy plays snakes! Q

Don Overberg did some interesting stuff with Harry Babasin's Jazz Pickers in the 50's, and was with Warne Marsh on "Live in Las Vegas"... AND there are some not so secret private tapes of the Marsh group at the Haig in LA in 1956, where Overberg plays SNAKES! Q

Obviously famous company has a big significance on general perception, but I feel both Hampton and Elmo are considered more than just Bud imitators. Red just may just have been in the right place at the right time, although his block chording did have imitators. For overlooked pianists who could really play, I would nominate Ronnie Ball from the Tristano school. Another would be Oscar Dennard, who played with Lional Hampton in the 50's, before dying young... Q

Allen, What was the name of your Warne Marsh disc? Q

Just picked up"Dana Point" with Joe Albany. To my ears, the Marsh solo on "Dahoud" must be one of the very greatest ever to make it to disc. The swing, conception, form, delivery are simply unbelievable! It has everything. No wonder he had trouble with the kids ... Q.