The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by sgcim
    Those guys were the Larry Carlton, Steve Gadd, Chuck Rainey, Bob James of the 50s. I read Milt "The Judge" Hinton's autobiography. He said they played on close to a thousand recordings. I have some of that record from the web, but I never got the whole thing. Maybe Fresh Sound has it on CD...
    I think it's on discogs on vinyl.
    When Bass Line came out Milt did a masterclass, he was a great guy, I got to talk with him for awhile afterwards and he graciously signed a few posters of his photography, I gave a couple to friends but kept the famous shot of Billie Holiday in studio holding the jar of vodka listening to the playback of her last lp (and my favorite) Lady In Satin. It's been framed on my wall since then.

    There's a cool shot of Barry in the book w/one of his Strombergs, iirc he doesn't say much about him other than they used to go to baseball games, he liked to wear flannel shirts, and he smoked too much. I wonder where those guitars ended up, maybe Stromberg expert Jim Speros knows if he's still around.

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  3. #27

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    Quote Originally Posted by wintermoon
    as a leader......






    Wow! What a wonderful discovery! I appreciate you good folks turning me on to great music/artists.

  4. #28

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    That one used to be on Apple Music - beautiful playing - seems to be gone now...

    Quote Originally Posted by sgcim
    Those guys were the Larry Carlton, Steve Gadd, Chuck Rainey, Bob James of the 50s. I read Milt "The Judge" Hinton's autobiography. He said they played on close to a thousand recordings. I have some of that record from the web, but I never got the whole thing. Maybe Fresh Sound has it on CD...

  5. #29

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    Quote Originally Posted by jmgalich
    The last one that's really hard to find is Aaron Sachs Quintette on Bethlehem, that has plenty of BG content. SGCIM might be able to comment more on this one.
    YouTube Music has the album.

  6. #30

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    Quote Originally Posted by wintermoon
    I think it's on discogs on vinyl.
    When Bass Line came out Milt did a masterclass, he was a great guy, I got to talk with him for awhile afterwards and he graciously signed a few posters of his photography, I gave a couple to friends but kept the famous shot of Billie Holiday in studio holding the jar of vodka listening to the playback of her last lp (and my favorite) Lady In Satin. It's been framed on my wall since then.

    There's a cool shot of Barry in the book w/one of his Strombergs, iirc he doesn't say much about him other than they used to go to baseball games, he liked to wear flannel shirts, and he smoked too much. I wonder where those guitars ended up, maybe Stromberg expert Jim Speros knows if he's still around.
    Fresh Sound released it as a CD. From reading that Milt Hinton book, I realized the guy was truly a great person, besides being a great bass player/arranger.

  7. #31

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    Quote Originally Posted by sgcim
    Fresh Sound released it as a CD. From reading that Milt Hinton book, I realized the guy was truly a great person, besides being a great bass player/arranger.
    yeah, I looked at the poster today and he signed it Milt Hinton '91 w/his familiar bass doodle, geez 30 yrs have gone by since that masterclass!

  8. #32

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    not barry...but bucky...with zoot sims, milt hinton and buddy rich...

    nirvana...nice later period date



    og lp cover was-



    cheers

  9. #33

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    same album?



    If not, that's a GREAT album with Barry Galbraith as well. Great compin' too

  10. #34

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    Quote Originally Posted by PickingMyEars
    same album?
    yeah that's it...plus bonus tracks..fresh sound has everything!!!


    cheers

  11. #35

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    I was just listening to the Fresh Sound re-issue (probably illegal, like most of their re-issues, and some of them are needle drops!) of "The Music of John Carisi- Israel", and Galbraith is the featured soloist on Carisi's, "Barry's Tune", a great feature for guitar and big band that I'd love to play some day. There are TWO different versions of the tune!

    The first one was done by John Carisi's Jazz Workshop group, and it doesn't have any pianist, so BG gets a lot of space to blow and comp on the tune. He really plays very fluently on this version, although it's a needle drop, so the sound isn't as good as it could be. The players are okay, but other than Urbie Green, BG is the best improviser in the group. This was recorded back in the mid 50s, so the sound is a little rough, but Barry is playing with a lot of drive on his solos.There's no piano, and you get to hear Barry comp like a pianist in the big band, as opposed to playing 4/4 rhythm on all the other tunes recorded by this group.

    The second version on this record is the one I'm familiar with, that was recorded on the album "Into the Hot" presented by Gil Evans (but he doesn't have anything to do with the music), and it uses a larger band, filled with the NYC jazz heavyweights of the time, Phil Woods, Gene Quill,
    Clark Terry, Brookmeyer etc..
    This was not a needle drop, and has much better sound, but Barry doesn't sound as fluent as he did on the first version, and they give him a more treble sound.
    The version is one minute longer than the first version, because Carisi adds a latin section that features a short but great Phil Woods solo. Barry's typical solo techniques are there, double-picked notes and long lines, but he doesn't sound as comfortable as the earlier version.
    Still, both versions feature great music that is rarely heard these days.

  12. #36

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    good stuff s...tho i'd imagine those "needle drops" are as much about lost masters and ancient methods of recording, as actual licensing legalities.... fs has made available much great stuff that might otherwise be even more totally forgotten!


    here's the first version ...barry g features prominently...(tho intonation between players is real loose!!)





    cheers

  13. #37

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    Quote Originally Posted by neatomic
    good stuff s...tho i'd imagine those "needle drops" are as much about lost masters and ancient methods of recording, as actual licensing legalities.... fs has made available much great stuff that might otherwise be even more totally forgotten!


    here's the first version ...barry g features prominently...(tho intonation between players is real loose!!)





    cheers
    I think you meant to post Barry's Tune, not Israel. Here's Barry's Tune- he was smokin' on this version:


    The players are not the caliber of studio jazz players as the Into the Hot session, but Barry kills on this version.
    As for legality, speak to survivors of the original artists, such as Jon Raney- he ain't gettin' a cent.
    Last edited by sgcim; 02-10-2021 at 05:09 PM.

  14. #38

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    Here's the equally great later version on "Into the Hot". The ensemble playing is at a much more in tune/higher level. Barry doesn't tear into it like the first version, but he's got a lot of noce melodic ideas on it. He uses his double note picking technique nicely on one idea.
    That could be either Phil or Quill on the alto sax solo, because they sounded very similar back then.

  15. #39

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    Quote Originally Posted by sgcim
    Here's the equally great later version on "Into the Hot". The ensemble playing is at a much more in tune/higher level. Barry doesn't tear into it like the first version, but he's got a lot of noce melodic ideas on it. He uses his double note picking technique nicely on one idea.
    That could be either Phil or Quill on the alto sax solo, because they sounded very similar back then.
    that's Woods on that one, both versions are great imo

  16. #40

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    Quote Originally Posted by wintermoon
    that's Woods on that one, both versions are great imo
    There's one Johnny Richards album that was being passed around by every one on duped disc, where Quill sounded exactly like Phil on the whole album.
    In the recently published Phil Woods autobiography, Phil tells the story about how Quill was playing in Mulligan's Concert Band, and he turned his head around too fast, and his reed went right into his eye!
    They called Phil to sub for him, and Mulligan fired him the first night, telling him, "You crazy Irish MFs are all the same."
    Then he re-hired him the next day!

  17. #41

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    Quote Originally Posted by sgcim
    BTW, the Barry's Tune with a big band is from the album called "Into the Hot" that was "presented"by Gil Evans, although what he has to do with the album is a mystery to me.
    Johnny Carisi wrote it and conducted it, and Barry plays the schlitz out of it.
    Apparently Gil had been attracted to Impulse to work with Creed Taylor, but Taylor soon left to go to Verve (where Gil arranged several tracks on Kenny Burrell's must-have "Guitar Forms"). Story goes that Impulse had already prepared the artwork for "Into the Hot" and Gil owed Impulse an album. So he somehow got Impulse to go along with releasing an extremely odd pairing with one side of Johnny Carisi and the other side with Cecil Taylor's group (which is wonderful btw).

    This is a great thread, thanks to all contributors!

    Haven't seen a mention of Galbraith's work on Coleman Hawkins "The Hawk Flies High"...

  18. #42

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    Quote Originally Posted by PhillyNash
    Apparently Gil had been attracted to Impulse to work with Creed Taylor, but Taylor soon left to go to Verve (where Gil arranged several tracks on Kenny Burrell's must-have "Guitar Forms"). Story goes that Impulse had already prepared the artwork for "Into the Hot" and Gil owed Impulse an album. So he somehow got Impulse to go along with releasing an extremely odd pairing with one side of Johnny Carisi and the other side with Cecil Taylor's group (which is wonderful btw).

    This is a great thread, thanks to all contributors!

    Haven't seen a mention of Galbraith's work on Coleman Hawkins "The Hawk Flies High"...
    Thanks for the info!
    It's always been a dream of mine to release an album with a picture of myself on the cover dressed in a suit and tie standing next to a music stand, and get credit for it without writing or playing a note!

  19. #43

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    "Haven't seen a mention of Galbraith's work on Coleman Hawkins "The Hawk Flies High"..."

    Not in this thread but recently mentioned somewhere else on the forum

  20. #44

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    Quote Originally Posted by sgcim
    I was just listening to the Fresh Sound re-issue (probably illegal, like most of their re-issues, and some of them are needle drops!) of "The Music of John Carisi- Israel", and Galbraith is the featured soloist on Carisi's, "Barry's Tune", a great feature for guitar and big band that I'd love to play some day. There are TWO different versions of the tune!

    The first one was done by John Carisi's Jazz Workshop group, and it doesn't have any pianist, so BG gets a lot of space to blow and comp on the tune. He really plays very fluently on this version, although it's a needle drop, so the sound isn't as good as it could be. The players are okay, but other than Urbie Green, BG is the best improviser in the group. This was recorded back in the mid 50s, so the sound is a little rough, but Barry is playing with a lot of drive on his solos.There's no piano, and you get to hear Barry comp like a pianist in the big band, as opposed to playing 4/4 rhythm on all the other tunes recorded by this group.

    The second version on this record is the one I'm familiar with, that was recorded on the album "Into the Hot" presented by Gil Evans (but he doesn't have anything to do with the music), and it uses a larger band, filled with the NYC jazz heavyweights of the time, Phil Woods, Gene Quill,
    Clark Terry, Brookmeyer etc..
    This was not a needle drop, and has much better sound, but Barry doesn't sound as fluent as he did on the first version, and they give him a more treble sound.
    The version is one minute longer than the first version, because Carisi adds a latin section that features a short but great Phil Woods solo. Barry's typical solo techniques are there, double-picked notes and long lines, but he doesn't sound as comfortable as the earlier version.
    Still, both versions feature great music that is rarely heard these days.
    Very cool. An acquaintance in a local folk band who ran a non-profit venue nearby was Johnny Carisi's niece. Or great niece. She had heard lots of stories of Uncle Johnny up and moving to NY when he was a teenager or something. I sent her the tune "Barry's Tune" from Into the Hot. She thought it was cool.

    I read in the liner notes of "into the hot" that they had to convince a balking-Barry to play that tune as he felt he hadn't been doing much "real jazz" as of late. I'd like to hear the other version you mention as well.

  21. #45

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    Barry is my fav so I'm always looking for his recordings. I like the album by Willie Rodriguez called "Flatjacks". Some good B.G. content on there.

    I just love the intro and chord solo he does on "Serenata". Flatjacks by Willie Rodriguez on Apple Music

    Also, his work on Coleman Hawkins' Desafinado is great, next to Howie Collins. His solo on Desafinado just gets me, for whatever reason. Just love it.

    Attached Files Attached Files

  22. #46

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    Actually - this is one of the cooler off the beaten path ones. Straight blues - John Lee Hooker "It Serves You Right to Suffer"




    https://open.spotify.com/album/7Fizh...QZGM7-y5QwXO7A

  23. #47

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    Just discovered a good Barry album yesterday while listening to jazz radio in the car with a friend.

    Anita O'Day "All The Sad Young Men"

    Nice sounding record from R.V.G.'s Englewood Cliffs place. Lot's of good Barry stuff. Intro on "You Came A Long Way From St. Louis" and "The Ballad Of The Sad Young Men"

    Great stuff. What touch and playing.

  24. #48

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