-
08-18-2021, 09:26 AM #26joelf GuestOriginally Posted by paul.trapanese
-
08-18-2021 09:26 AM
-
Originally Posted by joelf
I like Sal's playing OK, but I admit that he was no Johnny Smith or Tal Farlow. Neither am I or presumably, any of you who are reading this post, I have met many jazz musicians, guitarists and non guitarists, who are not fond of the playing of Joe Pass. I have a hard time comprehending that. Don't they hear what I am hearing? IMO, it doesn't get any better than Joe Pass (with the possible exception of Wes Montgomery). Like I say it is a subjective thing. I am glad that enough people like MY playing enough that I have been able to make a modest living playing jazz guitar full time over the last 20 years or so. And I am no Sal Salvador.
Joe Puma? Great player. When I was at NYU in the 70's, I used to see him do a guitar duo with Chuck Wayne at a small club on the Westside called Strykers. No cover, just buy a drink and enjoy the music. I saw Chet Baker and Lee Konitz at that club as well. New Years Eve would have all four of those cats playing and the room was not full. I was there every New Years to catch that music. Other people were not inspired enough to come see them play I suppose.....
-
08-18-2021, 02:04 PM #28joelf Guest
It's all good. He can play and different strokes.
Bless all good players...
-
Originally Posted by joelf
I played a gig or two in Westport around 1980. Lots of players coming out of UB.
Sent from my iPhone using Tapatalk
-
Originally Posted by joelf
He had mellowed out in his old age, so he's noticeably restrained about about a few things he could have really let go on.
There's no mention of the time that Wynton publicly put him down through a mic on a Jazz Cruise that his daughter, Kim Parker happened to be on.
She let WM have it, and he publicly apologized for his idiotic and erroneous (what else is new) statements.
Similarly, there's no mention of the death threats members of the Oliver Nelson big band sent to ON and PW about ON hiring a white lead alto player for his band. ON stood up to them all, and even wrote an essay defending PW.
PW took the high road on the whole Black/white thing in jazz, and doesn't say a word on the subject.
But he speaks pretty freely on other things.
-
Originally Posted by paul.trapanese
-
08-18-2021, 05:25 PM #32joelf GuestOriginally Posted by paul.trapanese
-
08-18-2021, 06:03 PM #33joelf GuestOriginally Posted by sgcim
Who's the publisher? Can I get it from his old site, or Jill? We're still in touch occasionally.
(BTW Wynton's mellowed too---was a perfect gent the 2 times we met. And he told cats in the band 'I said some stupid s%^t when I was young'. Everyone grows up, or should.)
-
Originally Posted by joelf
They're even selling that hat he used to wear! It's $24 paperback, $42 Hardcover. I got the paperback.
-
Originally Posted by Stringswinger
I still contend that there was a real jazz Renaissance in the 70s, especially in jazz guitar. I can't even count the times I saw Chuck Wayne and Joe Puma's guitar duo live, and then Joe had a steady gig at Gregory's for years. Bucky Pizzarelli and George Barnes had a fantastic guitar duo that I saw as many times as I saw Chuck and Joe's. Joe Pass hit the scene and literally set it on fire. There were the Great Guitars of Jazz with Barney Kessel, Herb Ellis and Charlie Byrd. Kenny Burrell was playing all over the place. Tal Farlow and Jimmy Raney came out of retirement. Tiny Grimes played at The Guitar Concert at Town Hall along with Chuck Wayne's group, John McLaughlin and his wife came out in robes, Joe Beck had a trio. And all these places were packed. I saw Sam Brown twice in one week, once with Joe Farrell and once at Kenny Burrell's club, The Guitar. I saw the Jim Hall /Ron Carter Duo so often, I knew their entire set list. Harry Leahey joined Phil Woods' group.Ted Dunbar was playing around the city. Atilla Zoller was teaching for free as part of the Jazz Interactions Program.I saw Pat Martino live at The Bottom Line.
-
08-18-2021, 08:53 PM #36joelf GuestOriginally Posted by sgcim
-
08-18-2021, 09:04 PM #37joelf GuestOriginally Posted by sgcim
-
Originally Posted by sgcim
-
08-19-2021, 07:00 AM #39joelf Guest
I missed Tiny---Ray Macchiarolla & James Chirillo were luckier than me. I started my 'big time' (stop SNICKERING, MFs!) career at the West End ca 1984, with George Kelly & the Jazz Sultans. Percy France, a great man, recommended me. I'd been sitting in w/him. His regular guitarist was the late Joel Perry. Percy's group and myself had both been fired from a Big Joe Turner gig at Tramp's in '81 by Doc Pomus---a mean SOB. Percy supposedly had stuck up for one of his guys who was smoking reefer on the stand.
The West End, when I started going up to hang & sit in, was a wonderful scene! I got to play with Ram Ramirez; Jimmie Lewis; Oliver Jackson; Percy---and who-all else I don't remember. These were radio broadcasts and are archived somewhere at WKCR. George's group had Benny Powell; Virgil Jones; Norris Turney; Richard Wyands; Peck Morrison---and the 'token', nervous; green; Jewish moi. He was promoting a recording of music by Don Redman he'd made (Bucky Pizzarelli made the date, but didn't want the lower-paying gig. When I met him years later he didn't even remember the date, that's how busy he always was) and a cameo in a Robin Williams movie, Moscow on the Hudson.
I believe I finally heard Tiny at Barry Harris's Jazz Cultural Theater---another amazing scene I was so lucky to fall into as a young player). I remember he had a LOUD (and IMO unmusical) drummer. The bass player---pretty sure it was Hal Dodson---was drug, but told me that that's what Tiny wanted, so he suffered through it.
George appropriated Tiny's (or someone else's) sign-off song. The lights would dim on the last note---short ending:
We hope you liked our music
We did the best we could
And if you heard your favorite song
We hope that it was good
We'll be back tomorrow (or in a little while)
Everybody have a drink
We'll have one and you'll have one
It's later---than you think...
-
Originally Posted by wintermoon
Who’s the woman at the beginning in the high heals, hat, and blue dress?
That’s the great Broadway dancer Frances Davis. Yes, Miles Davis’ wife from the late 50’s until the early 60’s.
She’s also featured in the 2019 Netflix documentary on Miles Davis, The Birth Of The Cool.
Julian Lage Trio, Amsterdam, April 17 2024
Today, 02:19 AM in The Players