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  1. #76

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    Quote 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of one of his artists, let's look at the following appraisal by Taylor---one that turned my stomach and led to an unpublished letter from me to Jazz Times: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...
    Mel Lewis had another meeting with Creed Taylor in 1966 to see if he could work out a deal for the Thad Jones/Mel Lewis Band.
    Creed listened to tapes of the original band, and said "It sounds great, but I couldn't sell that."
    Mel said, "If it sounds great, then you can sell it."
    Creed said he'd have to change it a lot.
    Mel walked out on him, and went to Solid State, which was run by guys like Manny Albam. The rest is history. Mel was a mensch.

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  3. #77

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    Creed Taylor seems to be a fairly controversial figure these days, as if he somehow went around castrating artists, whose only goal (of course!) was to make great art. I have also read a lot of people trying to minimize his role in some great recordings of the time.

    Personality aside, he had a pretty good track record. He produced the Getz/Gilberto album and great records by Chet, Nina Simone and Herbie Hancolc among others.

    It's easy to make light of the management and producers, but records (especially back then) don't make and sell themselves.

  4. #78

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    As far as assessing artists' personal failings, I find it interesting, particularly if it relates to how they made their art. (Van Gogh's mental health issues, Rimbaud's syphilis, etc.)

    I think we have to be careful in being too judgmental--using it as the sole determinant of whether something is worthy.

    In the end one does have to deal with the art. I can listen to Getz and Chet all day, and look at Gauguin and Picasso paintings, and watch movies by Polaski and even probably something with Kevin Spacey in it.