Originally Posted by
joelf
Creed Taylor did some great things with CTI, etc.---but he was far from an angel himself. He put stardom and $ first. Don't get me wrong, I understand the pressures on someone running a label promoting creative music and recording top talent. But where Orrin Keepnews of Riverside was willing to take a chance recording a no-name with great potential on the recommendation of one of his artists, let's look at the following appraisal by Taylor---one that turned my stomach and led to an unpublished letter from me to Jazz Times:
(Paraphrasing) 'Wes Montgomery wanted to record with his brothers. But they weren't as good as him. So I recorded him with (we all know who) and he went on the road with his brothers, and everyone was happy'. What a slap in the face to Buddy and Monk! (I got to play with Buddy a few times. I feel he was every bit as talented as Wes, maybe not quite as marketable. But a unique player and gifted composer). Of course Wes sounded great with the people in Taylor's stable. He sounded great with everybody. But CT's cold-blooded statement also didn't take into account the special thing that happens musically when a super-talented family like the Montgomerys play together. They were magical, and also were considered masters and elders back in Naptown way before Wes's fame. To my ears, Wes never sounded happier than in those groups. Putting money and fame for his artist before these things Taylor may have advanced Wes's career, and I'm glad he did. Definite props for that. But he f'ed up passing on----dismissing---one of the truly special groups---family or otherwise---jazz has ever known. For shame...
Julian Lage Trio, Amsterdam, April 17 2024
Today, 02:19 AM in The Players