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Wow, you got the original LP?
Originally Posted by nyc chaz
Although Most's playing is great on the other albums included in the set, the arrangements by Bob Dorough and Teddy Charles aren't as good as the ones by Woellmer.
Jimmy Raney has a good solo on one tune on the record he's on, and Davey Schildkraut has some nice solos on one of the other records.
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07-27-2024 08:18 PM
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Into The Hot was mentioned upthread; I had that in my once huge cassette collection. But Barry Galbraith starred on a recording Gil Evans very much played on for Impulse!: Out of The Cool. The opening cut, La Nevada gives him a lot of room, comping and a killer solo.
I don’t remember all the personnel aside from Evans on piano, and Galbraith. I know it’s Johnny Coles on trumpet and Jimmy Knepper on trombone.
Killer diller track:
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That's not Galbraith. It's Ray Crawford. You're probably confusing Out of the Cool with Into the Hot, where Galbraith was featured on "Barry's Tune" written by Johnny Carisi. Even though they used his name on the cover, Gil Evans had nothing to do with ITH. They played compositions by Carisi and Cecil Taylor. The Taylor things were done by the Cecil Taylor Unit, not the BB that played all the Cariisi tunes. Originally Posted by L50EF15
Last edited by sgcim; 07-28-2024 at 08:59 PM.
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Sam Most did this one with Tal Farlow.
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I recently heard a story about Johnny Carisi from a friend of mine who drove up to Boston with him to do a gig He asked Carisi what influenced him to write "Israel". He figured it had something to do with the founding of the State or country. Originally Posted by achase4u
Carisi blew a gasket! He said that when you compose music, nothing influences you to write it. You sit there in a room with a blank piece of paper and work for hours until you've come up with a complete musical statement that makes complete musical sense.
He was so mad at my friend for asking such a "stupid question", that he did not say one word to him for the entire trip going up there or the entire trip coming back!
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Nothing like being trapped in a car like that on a long trip, ouch. Originally Posted by sgcim
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This is one of the joys of our little community. We have a wonderful spectrum of age, interest, knowledge and experience from young ‘uns with an appreciation for jazz guitar history and an eagerness to learn to old dudes with a wealth of resources and a lifelong love of jazz guitar. Originally Posted by sgcim
I discovered Barry Galbraith in the 1960 Gibson catalog (when I was in high school). The only records I could find on which he played were Music Minus One backing tracks, and I couldn’t justify spending my hard earned money on that when there was so much music I wanted to hear and learn. But I bugged the local record store (Russ Miller Records in Atlantic City) so much that I was eventually able to get his playing on albums by Chris Connor, Milt Jackson, Steve Allen (!), Tony Bennett and Tal Farlow by the time I went to college. Good record shops had a huge catalog of all commercial recordings with credits, and you could find all credited appearances if you took the time to search that tome.
I’m fortunate enough to be solidly in the geezer brigade but still able to remember what I have and where it is. I remember buying Out of the Cool after reading a review in Downbeat. When I saw this thread, I went to my record collection and pulled it out. It’s still great!
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I miss cats like neatomic when I go back and read old threads like this. I guess we'll never know what happened to him.
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Does the song have lyrics? If not, then it was a lame question in most cases the title attached to a music without lyrics, has nothing to do with the actual music. (as always there are exceptions like Blue Bossa). Originally Posted by sgcim
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NY to Boston and then back again is a long time! Originally Posted by wintermoon
Yeah, going back and reading neatomic's posts always astounds me at his knowledge of jazz guitar. I'm sure he was probably hip to Galbraith's incredible part on the Most album. He might have even been hip to the arranger, RW, on the album, although I've only known one sax player that used to do a duo gig with him that was hip to him, and he's long gone, just like the trumpet player who booked him on the gig.
Searches have come up with him playing trumpet with the band Gil Evans used to write for, the Claude Thornhill Orchestra, so maybe he got some of his arranging skills from Gil.Some old DB articles have him playing and arranging for Bobby Scott's group in the 50s.
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Galbraith played on the album "Into The Hot". not "Out of the Cool", which featured Gil's band with Ray Crawford on guitar. Originally Posted by nevershouldhavesoldit
This is one of the joys of our little community. We have a wonderful spectrum of age, interest, knowledge and experience from young ‘uns with an appreciation for jazz guitar history and an eagerness to learn to old dudes with a wealth of resources and a lifelong love of jazz guitar.
I discovered Barry Galbraith in the 1960 Gibson catalog (when I was in high school). The only records I could find on which he played were Music Minus One backing tracks, and I couldn’t justify spending my hard earned money on that when there was so much music I wanted to hear and learn. But I bugged the local record store (Russ Miller Records in Atlantic City) so much that I was eventually able to get his playing on albums by Chris Connor, Milt Jackson, Steve Allen (!), Tony Bennett and Tal Farlow by the time I went to college. Good record shops had a huge catalog of all commercial recordings with credits, and you could find all credited appearances if you took the time to search that tome.
I’m fortunate enough to be solidly in the geezer brigade but still able to remember what I have and where it is. I remember buying Out of the Cool after reading a review in Downbeat. When I saw this thread, I went to my record collection and pulled it out. It’s still great!
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I know - I didn’t say otherwise and I have both. I only posted the pic and comment about that album in agreement with your statement “Wow, you got the original LP”. The joy of having collected great recordings for 70 years is having 70 years of great records. I think “wow” every time I play one, and I’m very grateful to have them all Originally Posted by sgcim
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Oh, sorry. It's a thread about BG and someone else thought BG played on that LP, and I thought you were making the same mistake. Sorry! Originally Posted by nevershouldhavesoldit
I know - I didn’t say otherwise and I have both. I only posted the pic and comment about that album in agreement with your statement “Wow, you got the original LP”. The joy of having collected great recordings for 70 years is having 70 years of great records. I think “wow” every time I play one, and I’m very grateful to have them all
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Beautiful guitar, beautiful song, beautiful playing, beautiful girl! Originally Posted by wintermoon
I don't know where she got the transcription, but it's perfect. She's playing it in Ab, but she's got the low E string tuned down to Eb.
I haven't heard Barry's version in a long time, but I think he played it either the same way, or he played it in G and tuned the E string to D.
I play it in standard tuning in Ab, because my little brain can't deal with alt. tunings.
Kind of strange that she didn't mention Raksin at all! When he played it for Andre Previn on the piano for the first time, Previn said "WTF is that?"
He never heard anything like that, and thought it just sounded like a mess (maybe also because of DR's piano playing)!
Sondheim called it the greatest film theme ever written, and DR used it in another film that was a kind of a sequel to BATB, but he did a wild contrapuntal minor key version of it that flipped me out when I first heard it.
He could've gone on being the top film composer in Hollywood, but he 'named names' in the McCarthy Hearings, and all he ever got were B movies after that.
One time I was playing a gig at the Waldorf in NYC, and I was playing it on the beautiful Steinway that they had before the gig began, and the great sax player/ arr. Lenny Sinisgalli told me I was playing an F instead of an E in the inner voice on the second chord! Talk about genius ears!
Thanks for posting that, G!
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I didn't know any of that history, thanks man. Originally Posted by sgcim
Beautiful guitar, beautiful song, beautiful playing, beautiful girl!
I don't know where she got the transcription, but it's perfect. She's playing it in Ab, but she's got the low E string tuned down to Eb.
I haven't heard Barry's version in a long time, but I think he played it either the same way, or he played it in G and tuned the E string to D.
I play it in standard tuning in Ab, because my little brain can't deal with alt. tunings.
Kind of strange that she didn't mention Raksin at all! When he played it for Andre Previn on the piano for the first time, Previn said "WTF is that?"
He never heard anything like that, and thought it just sounded like a mess (maybe also because of DR's piano playing)!
Sondheim called it the greatest film theme ever written, and DR used it in another film that was a kind of a sequel to BATB, but he did a wild contrapuntal minor key version of it that flipped me out when I first heard it.
He could've gone on being the top film composer in Hollywood, but he 'named names' in the McCarthy Hearings, and all he ever got were B movies after that.
One time I was playing a gig at the Waldorf in NYC, and I was playing it on the beautiful Steinway that they had before the gig began, and the great sax player/ arr. Lenny Sinisgalli told me I was playing an F instead of an E in the inner voice on the second chord! Talk about genius ears!
Thanks for posting that, G!
I searched high and low for a chart for a long time and finally ran into a bass player that knew a piano player that had written it out and got it from him. then I put it aside and never even tried it! but it's around here somewhere buried in some pile of music, I'm the worst when it comes to organizing charts.
iirc someone here posted a chart at some point, I guess an advanced search might turn it up.
another guy on the Galbraith FB page posted his rendition once and it was spot on but I'm not on social media so 95% of the time when I click on Barry's page I can't view anything.
as for the the chick, when I hear a girl playing great music like that I instantly fall in love, especially if she looks good on top of it.
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I found another great album by Sam Most with Barry on it. It Comes as part of a reissue of two LPs- one by the Don Elliot Quartet, and the other simply titled "The Sam Most Sextet", which has the same personnel as the other Most album I posted about.
This tune was written by the pianist I used to work with, Ronnie Woellmer, and has some very hip counterpoint and quartal harmony:
Doubles In Jazz : Don Elliott Quartet : Free Download, Borrow, and Streaming : Internet Archive
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Is Open House the tune?
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Yeah, and it ain't no open house for Saquon! Originally Posted by wintermoon
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I see he wrote another tune on it, Skippy.
Wasn't he a trumpet player? I have the other record "I'm Nuts About The Most" and saw the 2 sided Elliott /Most on Jazztone many times over the years but never picked it up.
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Yeah, he placed towards the top on "Best New Trumpet Player" in DB magazine, but he got in a car accident and lost all his teeth. Originally Posted by wintermoon
When I worked with him, he had switched to keyboard, and played his own hip subs to all the tunes we did because he was playing left-hand bass.
I booked him on my own gig once, and he called me up a few days before the gig and said he hurt his hand in an accident. Probably got a better paying gig or something.
I think they stopped calling him for gigs, because he used to stop playing in the middle of a song, and walk up to the leader/singer of the gig with the sheet music of the song, and ask him some question about the music! The singer couldn't read music, so he'd just look at him like he was nuts, and I'd sit there laughing my head off, because he was supposed to be playing left hand bass and changes!
Imagine if that chick organist you play with ever just stopped playng in the middle of a tune on a gig, and walked over to you and started discussing the sheet music with you! LOL!!!!!!!!
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I can't believe that I'm still finding new BG jazz recordings, but I learned about an arranger/composer who wrote some very difficult music in the 50s, and would only use BG or JS for his projects.
The things he did with JS were never recorded, but two of his records in the 50s with BG were.
The composer/arr. was Tom Talbert and BG did one of the records without a pianist, so he gets a lot of space like he did on similar records. The other one is a larger group, but I think BG is featured on only the songs without a pianist, so it's also very good.
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I found the two incredible Thomas Talbert LPs that Barry Galbraith played on in the 50s on You Tube. They both sound as good as anything out there today.
The first was from an album originally called "Bix, Duke and Fats" which my father used to leave laying around the house when I was a kid.
I just remember that I listened to "In a Mist" back then, because I liked Bix Beiderecke's Impressionistic tunes.
I'm freaking out because two musicians I did a lot of gigs with, Aaron Sachs and Eddie Bert are featured on it. In all the times we talked about Barry Galbraith, they never mentioned this LP. It's re-issued under Oscar Pettiford and Talbert's names, because he was the most well known musician on the album:
Herb Geller plays his ass off on this cut.
I also found the only other record Talbert made in the 50s. This is with a chick singer I never heard of, and with a smaller group without a pianist, so Galbraith is all over the place:
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As many times as I saw that Talbert lp in the stores I never bought it but didn't know BG was on it.
The McGovern lp is hard to find and 'spensive when it does pop up.
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Yeah, the freakin' thing was lying around my parents' house for ages, and I never knew that any of those guys were on it, including BG. Originally Posted by wintermoon
I found a book on Talbert in the library, and the author makes a point about the fact that he never even heard of him 'til 1980.
TT was friends with Johnny Richards, Gil Evans and all the other heavyweights, but somehow he seemed to fall into the cracks. He wound up in LA writing for TV and movies, but he did make a comeback with his own jazz group in the 90s, using Howard Alden on guitar.
I haven't finished the book yet, so I'll fill you in when I'm done. There are a lot of guitarists from the 40s and the 50s mentioned that I've never heard of.
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