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Showing posts with label jazz. Show all posts
Showing posts with label jazz. Show all posts
Tuesday, December 26, 2017
Wednesday, March 08, 2017
By Jack Brummet, American Music Ed.
I am reading Mezz Mezzrow's autobiography, "Really The Blues." This Jewish kid fell in love with black culture, and in particular, the music. What a crazy life (at one point Mezz was a common slang word for reefer), from the reformatory to playing with and managing people like Sidney Bechet and Louis Armstrong. It's a highly idiomatic book, filled with heartbreaking tales of facing down Jim Crow (de jure in the south and de facto in the north) and most of all, stories of the great blues and jazz they made despite the law and prevailing racism.
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I am reading Mezz Mezzrow's autobiography, "Really The Blues." This Jewish kid fell in love with black culture, and in particular, the music. What a crazy life (at one point Mezz was a common slang word for reefer), from the reformatory to playing with and managing people like Sidney Bechet and Louis Armstrong. It's a highly idiomatic book, filled with heartbreaking tales of facing down Jim Crow (de jure in the south and de facto in the north) and most of all, stories of the great blues and jazz they made despite the law and prevailing racism.
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Friday, September 02, 2016
12 jazz albums that made a difference for me
By Jack Brummet
1. Forest Flower — Charles Lloyd. This was the album that got me hooked on jazz when I was around 20.
2. The Legendary Dial Masters — Charlie Parker. [It's kind of cheating —maybe—to use a compilation like this.]
3. Thelonious Monk Quartet with John Coltrane at Carnegie Hall —Thelonious Monk. [This tape of this 1957 concert was long lost and then found in 2005 at the library of congress. It was mastered and released a few years ago, and became a jazz best seller. It’s great.]
4. The Complete Atomic Basie — Count Basie
5. Live at Antibes — Charles Mingus. [Ah Um, Pithecanthropus Erectus, Oh Yeah were close contenders.]
6. Blue Train — John Coltrane [I was tempted to put Live in Seattle, which as some critics noted, contains some of his best, and worst, playing ever.]
7. Never No Lament: The Blanton-Webster Band — Duke Ellington [This is peak Ellington which = peak jazz.]
8. Milestones — Miles Davis [this one was really hard…so many fantastic albums.]
9. Bug Music — Don Byron
10. Love Devotion and Surrender — John McLaughlin and Carlos Santana [Odd choice? Yes. I love each guitar player on their separate stereo channels and their rocking take on Coltrane].
11. Hot Fives and Sevens- Louis Armstrong
12. Visiting Dignitaries — Milo Petersen and The Jazz Disciples [by my oldest friend Milo and some really talented sidemen. I dig this out pretty often. Beautiful songwriting and arrangements. It includes a song, “The Good,” he wrote for our wedding.]
2. The Legendary Dial Masters — Charlie Parker. [It's kind of cheating —maybe—to use a compilation like this.]
3. Thelonious Monk Quartet with John Coltrane at Carnegie Hall —Thelonious Monk. [This tape of this 1957 concert was long lost and then found in 2005 at the library of congress. It was mastered and released a few years ago, and became a jazz best seller. It’s great.]
4. The Complete Atomic Basie — Count Basie
5. Live at Antibes — Charles Mingus. [Ah Um, Pithecanthropus Erectus, Oh Yeah were close contenders.]
6. Blue Train — John Coltrane [I was tempted to put Live in Seattle, which as some critics noted, contains some of his best, and worst, playing ever.]
7. Never No Lament: The Blanton-Webster Band — Duke Ellington [This is peak Ellington which = peak jazz.]
8. Milestones — Miles Davis [this one was really hard…so many fantastic albums.]
9. Bug Music — Don Byron
10. Love Devotion and Surrender — John McLaughlin and Carlos Santana [Odd choice? Yes. I love each guitar player on their separate stereo channels and their rocking take on Coltrane].
11. Hot Fives and Sevens- Louis Armstrong
12. Visiting Dignitaries — Milo Petersen and The Jazz Disciples [by my oldest friend Milo and some really talented sidemen. I dig this out pretty often. Beautiful songwriting and arrangements. It includes a song, “The Good,” he wrote for our wedding.]
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Saturday, July 04, 2015
A study in contrast: Miles Davis photos with Kenny G and Carlos Santana
By Jack Brummet, Jazz Ed.
Miles Davis with a) Carlos Santana and b) Kenny G. I'd had the Miles/Kenny G photo for a long time, but just bumped into the Santana photo and it reminded me of the other one...
Miles Davis with a) Carlos Santana and b) Kenny G. I'd had the Miles/Kenny G photo for a long time, but just bumped into the Santana photo and it reminded me of the other one...
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Monday, April 07, 2014
The Paul Winter Consort's "Icarus"
By Jack Brummet, Jazz Ed.
This is such a gorgeous song. How often does a song so beautifully capture the whole story of its [one word] title? You see Icarus soar and keep soaring, and then the dark part as the wax melts and the feathers fall away and the song fades out, like the doppler rings from his splash into the sea, radiating and dispersing into nothingness.
This is such a gorgeous song. How often does a song so beautifully capture the whole story of its [one word] title? You see Icarus soar and keep soaring, and then the dark part as the wax melts and the feathers fall away and the song fades out, like the doppler rings from his splash into the sea, radiating and dispersing into nothingness.
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Tuesday, December 10, 2013
Mezz Mezzrow, American jazz hero
By Jack Brummet, American Music Ed.
Mezz writes about going with Louis Armstrong to the RCA recording studio in Camden, New Jersey:
"In the dead of night we drove up to a large red brick church. I wondered if we were going to have a special prayer service, but when we went through the chapel door I saw it was a recording studio. `This is funny, ain't it, Mezz,' Louis said, `jammin' in a ole church.' I came back with `Where else should Gabriel blow?'" Yeah.
Reading American jazz clarinetist Mezz Mezzrow's biography 'Really the Blues' tonight. What a sweet, insightful, and marijuana-laced book. It is way more a microscope on the expansive and kaleidoscopic personality of Mezz Mezzrow than an actual, or factual, retelling of his life, kind of like a lot of the great autobiographies I've read (Keith Richards', Bob Dylan's, and Charles Mingus's come immediately to mind). So many sweet stories about his mentor Louis Armstrong, struggling to bring real jazz to NYC, and missing the music of Chicago. About being a Jewish boy in what was an African-American racket, and eventually becoming a link between black and white players in the Jim Crow era. The language is amazing, and at times incandescent--a kind of hybrid of Lord Buckley, Louis Armstrong, and Tom Wolfe. There is no question in my mind that this book, published in 1946, influenced The Beats and specifically Jack Kerouac, who to my ear, clearly lifted rhythms and language from Mezz. And good on him--he picked the right guy to lift from.
Mezz writes about going with Louis Armstrong to the RCA recording studio in Camden, New Jersey:
"In the dead of night we drove up to a large red brick church. I wondered if we were going to have a special prayer service, but when we went through the chapel door I saw it was a recording studio. `This is funny, ain't it, Mezz,' Louis said, `jammin' in a ole church.' I came back with `Where else should Gabriel blow?'" Yeah.
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Thursday, June 13, 2013
Louis Armstrong serenades the pyramids
By Jack Brummet, Music Ed.
In 1961, Louis Armstrong was on a State Dept. tour of the middle east. He and his wife Lucille stopped by the pyramids, and he broke out his horn, for a "photo op" no doubt. . .nonetheless, a great photo.
In 1961, Louis Armstrong was on a State Dept. tour of the middle east. He and his wife Lucille stopped by the pyramids, and he broke out his horn, for a "photo op" no doubt. . .nonetheless, a great photo.
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Tuesday, March 19, 2013
Charlie Parker plays "Air Conditioning"
By Jack Brummet, Jazz Ed.
Air Conditioning is one of my very favorite Charlie Parker songs. I first heard it on a Dizzy Gillespie-Charlie Parker LP, "Groovin' High," and it's been a top tune ever since. . .
Air Conditioning is one of my very favorite Charlie Parker songs. I first heard it on a Dizzy Gillespie-Charlie Parker LP, "Groovin' High," and it's been a top tune ever since. . .
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Sunday, November 06, 2011
The Buddy Rich Tapes (NSFW...transcripts and audio contain 132 instances of "the F word," among other expletives
By Jack Brummet, Music Editor
Buddy Rich's famous temper and domineering personality were secretly recorded by the pianist Lee Musiker in the early 1980's, while he was performing on tour with Rich's band. Musiker caught numerous tirades and diatribes by Rich on the bus, and backstage, in the early 1980s. These bootlegs have been in circulation for many years. I first heard them at least ten years ago. The tapes were favorites of a lot of jazz and music people, and with Jerry Seinfeld and Larry David, who used at least three quotes from the tapes on Seinfeld.
Days before Rich passed away, he was visited by Mel Tormé, who says that one of Rich's last requests was "to hear the tapes" that featured his famous outbursts (Tormé was writing an authorized biography of Rich, ''Traps, The Drum Wonder: The Life of Buddy Rich," that would be published after the drummer's death.
Tape 1 On the bus between sets
Buddy Rich: You guys are gonna be back in New York on the bread line so fast you won't even know that you were on this fuckin' band. How dare you play a fuckin' set like that. Since when did the fuckin' trumpet players become the leader of this fuckin' band and decide how long they're gonna hold a chord? What the fuck do you think you're doin'? You think you're playin' with some kid up there?
I expect one-hundred-and-ten percent fucking perfection every fuckin' tune, you got that? If you can't do it, get off my fuckin' band to-NIGHT! You had a day off yesterday and you come back like this and you suck! What the fuck kind of music do you think you're playing here anyhow? And who do you think you're playing for? You think I'll tolerate that shit? You're worse than any fuckin' high school band I ever heard. You come in wrong because you leave one fuckin' beat out--you can't find one!?
I don't know what kind of drummers you think you're playin' with, but you'll play with me or you'll get out! And I mean NOW! I don't need this shit. I have a home in Palm Springs and I can go sit on my ass the rest of my life and not worry about a fuckin' thing...and don't have to meet your fuckin' payroll, and pay you for playin' like a fuckin' high school dropout! How dare you do that!
ASSHOLES!! You can't play a simple fuckin' tune; you can't hold a chord; you can't play time when you play solos. What kind of solos am I hearing tonight? (as he turns to the Trombonist) You want to rehearse and practice, get a fuckin' band in Sydney and play the kind of shit you want. Over here you play TIME! You don't like what I play get the fuck out. I'm tired of putting up with you, I'm tired of signing for ya, I'm tired of you period! And I'm tired of you all you guys that can't go up and play a fuckin job for 45 fuckin minutes.
You got it too fuckin easy goddam it. I'll make it so fuckin tough, you won't be able to breath around here. How many fuckin bands you think you got to go to work in? If I decide to quit, you'd all suck. You got nothin. Try it. You think I'm foolin, you can quit tonight. I'm up there knockin my fuckin brains and I gotta carry you and pay you at the same time? Fuck you!
When I go back inside, I better hear one hundred and ten percent perfection. Or I'll leave ya here. I'll take you as far as Detroit and you got it. Try me. Fuckers.
Try me this next set and see if you get away with one piece of shit. You try it. I'll fire ya on the fuckin band stand. You don't only insult me but you insult yourselves. Don't you have any more pride? Where's your fuckin pride, where's your professionalism? Assholes. That's what...that's what you play like. Where's your own fuckin pride in yourself? Or don't you have any cause you're so fuckin dumb that you don't have any pride? Get outta here, right now. I'll have nothin to do with you. You get up on that band stand and you play your ass off.
Tape 2 On the bus between sets
Buddy Rich: What the fuck do you think is goin' on here? You had too many fuckin' days off and you think this is a fuckin' game!? You think I'm the only one that's gonna work up there while you motherfuckers sit out there and clam all over this fuckin' joint!? What do you think this is anyhow? What kind of playing do you think this is? What kinda miscues do you call this? What fuckin' band do you think you're playin' on, motherfuckers? You wanna fuck with me on the bandstand?...Shut that fuckin' door!
I'm up there working my balls off, trying to do somebody a favor, and you motherfuckers are suckin' all over this joint. What kind of trumpet section do you call this tonight? And saxophones...you gotta fuckin' be kidding me! How dare you call yourselves professionals. Assholes! You're playin' like fucking children up there.
You got your fuck...(distracted momentarily) where the fuck are you? Where is Peneke? (turns to the Trombonist) You've got your fuckin' horn so far deep in the fuckin' bell, we don't need to have a band here tonight. You afraid you won't be heard? Everybody can hear your fuckin' clams out there. You don't need a mike for that. You're takin' up too much fuckin' time blowin' what? Shit!!
You stand out here all night tryin' to blow your fuckin' brains out; when it comes time to play, what do you play? Clams!! You got nowhere to fuckin' go tonight the next set because if I hear one fuckin' clam from anybody, you've had it! One clam and this whole fuckin' band is through...tonight!! Try me! You got some fuckin' nerve. Nights off, nothin' to do, and you come in and play this kind of shit for me...Fuck all of you!!
You're not doin' me any fuckin' favors, you're breakin' my heart up there. I gotta go up there and be embarrassed by you motherfuckers? I've played with the greatest musicians in the world. How dare you play like that for me! How dare you try to play like that for me. Assholes!! I get fifteen fuckin' kids in rehearsal. The fuckin' time in this band is incredible! We don't play two fuckin' bars in one fuckin' tempo. Not one! You can't keep fuckin' time and play, there's too many things to do, isn't there? You can't pat your fuckin' foot and play. You're all over the fuckin' place. Miscue after miscue...You try one fuck up the next set, and when you get back to New York you'll need another fuckin' job. Count on it! Now get out of my fuckin' bus! Right now! (Band members shuffle out)
Tape 3 On the tour bus traveling to the next gig
Buddy Rich: Two fuckin' weeks to make up your mind whether you want a beard or you want a job. I'll not have this trouble with this band. This is not the goddamn House of David fuckin' baseball team. This is the Buddy Rich Band; young people...with faces! No more fuckin' beards. That's out! If you decide to do it, you're through. Right now! This is the last time I make this announcement. No more fucking beards. I don't want to see it. If you guys don't want to shave it off, I'll treat you just like they treat you in the fuckin' Marine Corps. This is the way I want my band to look. If you don't like it, get out!
You've got two weeks to make up your mind. This is no idle request. I'm telling you how my band is gonna look. You're not telling me how you're gonna look, I'm telling you. You've got two weeks to make up your fucking mind, if you have any mind. (pause) There's too much freedom in this band. It's taken away. You're not going to do what you want to do, but what I want to do, as long as you're takin' my fuckin' money. I'm presenting my kind of band. The image I present is what I want, not what you want (turns to Dave Peneke, one of the trombonists). You seem to be giving me more trouble than anyone else. Do you want to do something about it? It's up to you. Do you want to do something about it?
Trombonist: (in an Australian accent) I would definitely not suggest you touch me.
Buddy Rich: Then I definitely tell you one thing. You keep your fuckin' mouth shut, get the fuckin' beard off, or get off the band, right now. Now what do you think of that? Now that's a definite suggestion. When you go to work tonight, if I catch the fuckin' beard on you, I'll throw you off the fuckin' bandstand, O.K.?
Trombonist: I'm not taking it off.
Buddy Rich: You're what?
Trombonist: I'm not taking it off.
Buddy Rich: You're through.
Trombonist: O.K.
Buddy Rich: Right now. You don't tell me what to do, I tell you. You don't like it, get off.
Trombonist: When and where?
Buddy Rich: Get off! Get your fuckin' clothes and get off! Right now! (to the bus driver) Pull the fuckin' bus over!
Trombonist: Have you got two weeks pay for me?
Buddy Rich: Have I got what?
Trombonist: Two weeks pay for me.
Buddy Rich: I got nothin' for you. I got a right hand to your fuckin' brain if you want it. I'll give you two weeks...two weeks for what? You learn the rules of my band. You don't like it, that's it. You get off. And try to take me to the fuckin' union. I'd love it. You get no two weeks pay, you get two weeks time. Get off. (aside) He was waiting for this for a long fuckin' time.
Trombonist: No I haven't.
Buddy Rich: Yes you have...
Trombonist: No I haven't at all.
Buddy Rich: (continuing)...ever since you opened your fuckin' mouth because I don't like the way you write...(pausing), and I still play your fuckin' charts, for you. You understand that...not for me.
Trombonist: I think you play my charts becau...
Buddy Rich: Because what?
Trombonist: ...because, in particular, "Manhattan" is the best chart in the book.
Buddy Rich: It is?
Trombonist: Yes.
Buddy Rich: Then take "Manhattan" and get off. I'm a success without you and without your writing.
Trombonist: I know that.
Buddy Rich: Alright. So don't tell me what the best chart in my book is.
Trombonist: Well, it certainly goes over the best.
Buddy Rich: Goes over the best?
Trombonist: Sure it does. People appreciate...
Buddy Rich: (interrupting) Go back to Sydney and, uh, whatever you do over there, good luck. Not over here. (to others in the area) I want him off my fuckin' bus right now.
Trombonist: It's a pleasure to be off.
Buddy Rich: Keep talkin'...keep talkin'. (Buddy's voice begins to tremble with rage) You wanna, you wanna start some shit with me? Hmm? Keep talkin'...
Trombonist: Not particularly.
Buddy Rich: Then keep your fuckin' mouth shut! Right now! Or I'll close it for you. Keep it shut...or try me!
Trombonist: I don't need to try you, Buddy.
Buddy Rich: Then shut up!
Trombonist: Well, I'd just appreciate, you know, being talked to like a human being.
Buddy Rich: I try to talk to you like a human being and you talk back all the time...
Trombonist: I don't think you do.
Buddy Rich: ...now keep your fuckin' mouth shut or I'll show you what it's like! That's all!
Buddy Rich: O.K., but you have no right to threaten me.
Buddy Rich: I'm not threatening you, I'm telling you. You don't want to do what I want in my band. I'm telling you!
Trombonist: O.K.
Buddy Rich: Then shut up!
Trombonist: I will.
Buddy Rich: Alright. (turns to the rest of the band) Let's get that understood by everybody. I want him off. I don't want him on the bandstand tonight. Two bones...(Buddy resumes cruising the aisle, looking for other targets of opportunity) I'm warning you for the last time. You wanna...right now...anytime you're ready...Close your fuckin' eyes. I've done had it with you. Sit down and keep your fuckin' eyes and your mouth to yourself. Grow up. You're not a tough guy so why don't you just sit down. You better start learning to act like one. (Eyes the trombonist) I am one, you are not. So shut up!
Trombonist: Don't threaten me.
Buddy Rich: Fuckin' asshole, fuckin' with me. I've got one for you. I own this fuckin' band.
Tape 4 In the band's dressing room
Buddy Rich: You think I'm runnin' fifteen fuckin'...Close that door. (musician slams door).
What kind of playing is being played here the past two nights? What is this? New phrasing, new bending, new sounds, no time! What the fuck do you think I'm running here? What kind of playing do you call this? What kinda shit is going on in the fuckin'...(turns to the bass player) What kinda, what kinda setting do you got on the bass tonight?
Bass Player: Setting?
Buddy Rich: I feel that's fairly much English.
Bass Player: It's the same as I've always had out there.
Buddy Rich: What's with this, what's with this bending?
Bass Player: I decided...
Buddy Rich: (interrupting) Who decided?
Bass Player: I did.
Buddy Rich: Your deciding is wrong!
Bass Player: I didn't do it on purpose. I...
Buddy Rich: (interrupting again) You're deciding what kind of phrasing. You're deciding who and what the leader is. You're gonna watch who you wanna watch...(turns to the rest of the band).
Everybody's on two weeks notice tonight. I'm telling you, everybody gets two weeks notice tonight. I can't handle this anymore. You're all...(pauses thoughtfully) you're not my kind of people, at all. I don't understand this fuckin' kind of music at all. I don't understand what anybody is doing up there. I'm workin' my fuckin' ass off...(turns to a trumpet player) You put that fuckin' mouthpiece into that bell again, I'm gonna take that fuckin' horn and break it across my knee! Do you understand that?
Trumpet Player: I'll stay away, you can't hear a note though.
Buddy Rich: I can hear everything! I don't give a fuck what you hear. I hear it, and all I know is that you're blowin' my fuckin' eardrum out!
(turns to the saxophones) The saxophones, you can play the flute, there's no sound in flutes. All I hear is noise. If you get any fuckin' closer you'll electrocute yourselves. What do you think I got a man with a sound system out there for? Sit down and play some fuckin' music! You afraid you won't be heard, is that it? I'll turn the motherfucker off all of you, then see what kind of a band you got up there, without all the assistance. You can't play shit!
I'm accustomed to working with number one musicians. I'm not accustomed to working with half-assed fuckin' kids who think they wrote the fuckin' music business. You got a long way to go. You got a long way to go. Every one of you got a long fuckin' way to go. Do you understand what I'm sayin'? You can't play shit up there for me. What the fuck you're doin' up there doesn't deserve to be called a "name" band. The fuckin' kids out at the park there, they sounded fifty times better than any one of you! And that's without a rhythm section. Maybe they enjoy what they are doin' here. If you don't enjoy it here, fuck you! And get off my band. Or we can find other ways to settle it.
I'm just so fuckin' tired of having to go through speeches with you guys. You're all a fuckin' bunch of children. There's not a man among you, not one man who can go out there and play the job like a man. You're all up there, fuckin' high school, bullshit jive artists. You jived me for the last fuckin' time. You got two sets to make up your fuckin' mind or I get me an all L.A. band tomorrow night. Don't think that's not impossible. It's very fuckin' possible. I've had it with you guys. I ought to give each one of you motherfuckers a cut in salary before I get out of this fuckin' room!
(Exit Buddy, slamming the door behind him)
Buddy Rich's famous temper and domineering personality were secretly recorded by the pianist Lee Musiker in the early 1980's, while he was performing on tour with Rich's band. Musiker caught numerous tirades and diatribes by Rich on the bus, and backstage, in the early 1980s. These bootlegs have been in circulation for many years. I first heard them at least ten years ago. The tapes were favorites of a lot of jazz and music people, and with Jerry Seinfeld and Larry David, who used at least three quotes from the tapes on Seinfeld.
Days before Rich passed away, he was visited by Mel Tormé, who says that one of Rich's last requests was "to hear the tapes" that featured his famous outbursts (Tormé was writing an authorized biography of Rich, ''Traps, The Drum Wonder: The Life of Buddy Rich," that would be published after the drummer's death.
Tape 1 On the bus between sets
Buddy Rich: You guys are gonna be back in New York on the bread line so fast you won't even know that you were on this fuckin' band. How dare you play a fuckin' set like that. Since when did the fuckin' trumpet players become the leader of this fuckin' band and decide how long they're gonna hold a chord? What the fuck do you think you're doin'? You think you're playin' with some kid up there?
I expect one-hundred-and-ten percent fucking perfection every fuckin' tune, you got that? If you can't do it, get off my fuckin' band to-NIGHT! You had a day off yesterday and you come back like this and you suck! What the fuck kind of music do you think you're playing here anyhow? And who do you think you're playing for? You think I'll tolerate that shit? You're worse than any fuckin' high school band I ever heard. You come in wrong because you leave one fuckin' beat out--you can't find one!?
I don't know what kind of drummers you think you're playin' with, but you'll play with me or you'll get out! And I mean NOW! I don't need this shit. I have a home in Palm Springs and I can go sit on my ass the rest of my life and not worry about a fuckin' thing...and don't have to meet your fuckin' payroll, and pay you for playin' like a fuckin' high school dropout! How dare you do that!
ASSHOLES!! You can't play a simple fuckin' tune; you can't hold a chord; you can't play time when you play solos. What kind of solos am I hearing tonight? (as he turns to the Trombonist) You want to rehearse and practice, get a fuckin' band in Sydney and play the kind of shit you want. Over here you play TIME! You don't like what I play get the fuck out. I'm tired of putting up with you, I'm tired of signing for ya, I'm tired of you period! And I'm tired of you all you guys that can't go up and play a fuckin job for 45 fuckin minutes.
You got it too fuckin easy goddam it. I'll make it so fuckin tough, you won't be able to breath around here. How many fuckin bands you think you got to go to work in? If I decide to quit, you'd all suck. You got nothin. Try it. You think I'm foolin, you can quit tonight. I'm up there knockin my fuckin brains and I gotta carry you and pay you at the same time? Fuck you!
When I go back inside, I better hear one hundred and ten percent perfection. Or I'll leave ya here. I'll take you as far as Detroit and you got it. Try me. Fuckers.
Try me this next set and see if you get away with one piece of shit. You try it. I'll fire ya on the fuckin band stand. You don't only insult me but you insult yourselves. Don't you have any more pride? Where's your fuckin pride, where's your professionalism? Assholes. That's what...that's what you play like. Where's your own fuckin pride in yourself? Or don't you have any cause you're so fuckin dumb that you don't have any pride? Get outta here, right now. I'll have nothin to do with you. You get up on that band stand and you play your ass off.
Tape 2 On the bus between sets
Buddy Rich: What the fuck do you think is goin' on here? You had too many fuckin' days off and you think this is a fuckin' game!? You think I'm the only one that's gonna work up there while you motherfuckers sit out there and clam all over this fuckin' joint!? What do you think this is anyhow? What kind of playing do you think this is? What kinda miscues do you call this? What fuckin' band do you think you're playin' on, motherfuckers? You wanna fuck with me on the bandstand?...Shut that fuckin' door!
I'm up there working my balls off, trying to do somebody a favor, and you motherfuckers are suckin' all over this joint. What kind of trumpet section do you call this tonight? And saxophones...you gotta fuckin' be kidding me! How dare you call yourselves professionals. Assholes! You're playin' like fucking children up there.
You got your fuck...(distracted momentarily) where the fuck are you? Where is Peneke? (turns to the Trombonist) You've got your fuckin' horn so far deep in the fuckin' bell, we don't need to have a band here tonight. You afraid you won't be heard? Everybody can hear your fuckin' clams out there. You don't need a mike for that. You're takin' up too much fuckin' time blowin' what? Shit!!
You stand out here all night tryin' to blow your fuckin' brains out; when it comes time to play, what do you play? Clams!! You got nowhere to fuckin' go tonight the next set because if I hear one fuckin' clam from anybody, you've had it! One clam and this whole fuckin' band is through...tonight!! Try me! You got some fuckin' nerve. Nights off, nothin' to do, and you come in and play this kind of shit for me...Fuck all of you!!
You're not doin' me any fuckin' favors, you're breakin' my heart up there. I gotta go up there and be embarrassed by you motherfuckers? I've played with the greatest musicians in the world. How dare you play like that for me! How dare you try to play like that for me. Assholes!! I get fifteen fuckin' kids in rehearsal. The fuckin' time in this band is incredible! We don't play two fuckin' bars in one fuckin' tempo. Not one! You can't keep fuckin' time and play, there's too many things to do, isn't there? You can't pat your fuckin' foot and play. You're all over the fuckin' place. Miscue after miscue...You try one fuck up the next set, and when you get back to New York you'll need another fuckin' job. Count on it! Now get out of my fuckin' bus! Right now! (Band members shuffle out)
Tape 3 On the tour bus traveling to the next gig
Buddy Rich: Two fuckin' weeks to make up your mind whether you want a beard or you want a job. I'll not have this trouble with this band. This is not the goddamn House of David fuckin' baseball team. This is the Buddy Rich Band; young people...with faces! No more fuckin' beards. That's out! If you decide to do it, you're through. Right now! This is the last time I make this announcement. No more fucking beards. I don't want to see it. If you guys don't want to shave it off, I'll treat you just like they treat you in the fuckin' Marine Corps. This is the way I want my band to look. If you don't like it, get out!
You've got two weeks to make up your mind. This is no idle request. I'm telling you how my band is gonna look. You're not telling me how you're gonna look, I'm telling you. You've got two weeks to make up your fucking mind, if you have any mind. (pause) There's too much freedom in this band. It's taken away. You're not going to do what you want to do, but what I want to do, as long as you're takin' my fuckin' money. I'm presenting my kind of band. The image I present is what I want, not what you want (turns to Dave Peneke, one of the trombonists). You seem to be giving me more trouble than anyone else. Do you want to do something about it? It's up to you. Do you want to do something about it?
Trombonist: (in an Australian accent) I would definitely not suggest you touch me.
Buddy Rich: Then I definitely tell you one thing. You keep your fuckin' mouth shut, get the fuckin' beard off, or get off the band, right now. Now what do you think of that? Now that's a definite suggestion. When you go to work tonight, if I catch the fuckin' beard on you, I'll throw you off the fuckin' bandstand, O.K.?
Trombonist: I'm not taking it off.
Buddy Rich: You're what?
Trombonist: I'm not taking it off.
Buddy Rich: You're through.
Trombonist: O.K.
Buddy Rich: Right now. You don't tell me what to do, I tell you. You don't like it, get off.
Trombonist: When and where?
Buddy Rich: Get off! Get your fuckin' clothes and get off! Right now! (to the bus driver) Pull the fuckin' bus over!
Trombonist: Have you got two weeks pay for me?
Buddy Rich: Have I got what?
Trombonist: Two weeks pay for me.
Buddy Rich: I got nothin' for you. I got a right hand to your fuckin' brain if you want it. I'll give you two weeks...two weeks for what? You learn the rules of my band. You don't like it, that's it. You get off. And try to take me to the fuckin' union. I'd love it. You get no two weeks pay, you get two weeks time. Get off. (aside) He was waiting for this for a long fuckin' time.
Trombonist: No I haven't.
Buddy Rich: Yes you have...
Trombonist: No I haven't at all.
Buddy Rich: (continuing)...ever since you opened your fuckin' mouth because I don't like the way you write...(pausing), and I still play your fuckin' charts, for you. You understand that...not for me.
Trombonist: I think you play my charts becau...
Buddy Rich: Because what?
Trombonist: ...because, in particular, "Manhattan" is the best chart in the book.
Buddy Rich: It is?
Trombonist: Yes.
Buddy Rich: Then take "Manhattan" and get off. I'm a success without you and without your writing.
Trombonist: I know that.
Buddy Rich: Alright. So don't tell me what the best chart in my book is.
Trombonist: Well, it certainly goes over the best.
Buddy Rich: Goes over the best?
Trombonist: Sure it does. People appreciate...
Buddy Rich: (interrupting) Go back to Sydney and, uh, whatever you do over there, good luck. Not over here. (to others in the area) I want him off my fuckin' bus right now.
Trombonist: It's a pleasure to be off.
Buddy Rich: Keep talkin'...keep talkin'. (Buddy's voice begins to tremble with rage) You wanna, you wanna start some shit with me? Hmm? Keep talkin'...
Trombonist: Not particularly.
Buddy Rich: Then keep your fuckin' mouth shut! Right now! Or I'll close it for you. Keep it shut...or try me!
Trombonist: I don't need to try you, Buddy.
Buddy Rich: Then shut up!
Trombonist: Well, I'd just appreciate, you know, being talked to like a human being.
Buddy Rich: I try to talk to you like a human being and you talk back all the time...
Trombonist: I don't think you do.
Buddy Rich: ...now keep your fuckin' mouth shut or I'll show you what it's like! That's all!
Buddy Rich: O.K., but you have no right to threaten me.
Buddy Rich: I'm not threatening you, I'm telling you. You don't want to do what I want in my band. I'm telling you!
Trombonist: O.K.
Buddy Rich: Then shut up!
Trombonist: I will.
Buddy Rich: Alright. (turns to the rest of the band) Let's get that understood by everybody. I want him off. I don't want him on the bandstand tonight. Two bones...(Buddy resumes cruising the aisle, looking for other targets of opportunity) I'm warning you for the last time. You wanna...right now...anytime you're ready...Close your fuckin' eyes. I've done had it with you. Sit down and keep your fuckin' eyes and your mouth to yourself. Grow up. You're not a tough guy so why don't you just sit down. You better start learning to act like one. (Eyes the trombonist) I am one, you are not. So shut up!
Trombonist: Don't threaten me.
Buddy Rich: Fuckin' asshole, fuckin' with me. I've got one for you. I own this fuckin' band.
Tape 4 In the band's dressing room
Buddy Rich: You think I'm runnin' fifteen fuckin'...Close that door. (musician slams door).
What kind of playing is being played here the past two nights? What is this? New phrasing, new bending, new sounds, no time! What the fuck do you think I'm running here? What kind of playing do you call this? What kinda shit is going on in the fuckin'...(turns to the bass player) What kinda, what kinda setting do you got on the bass tonight?
Bass Player: Setting?
Buddy Rich: I feel that's fairly much English.
Bass Player: It's the same as I've always had out there.
Buddy Rich: What's with this, what's with this bending?
Bass Player: I decided...
Buddy Rich: (interrupting) Who decided?
Bass Player: I did.
Buddy Rich: Your deciding is wrong!
Bass Player: I didn't do it on purpose. I...
Buddy Rich: (interrupting again) You're deciding what kind of phrasing. You're deciding who and what the leader is. You're gonna watch who you wanna watch...(turns to the rest of the band).
Everybody's on two weeks notice tonight. I'm telling you, everybody gets two weeks notice tonight. I can't handle this anymore. You're all...(pauses thoughtfully) you're not my kind of people, at all. I don't understand this fuckin' kind of music at all. I don't understand what anybody is doing up there. I'm workin' my fuckin' ass off...(turns to a trumpet player) You put that fuckin' mouthpiece into that bell again, I'm gonna take that fuckin' horn and break it across my knee! Do you understand that?
Trumpet Player: I'll stay away, you can't hear a note though.
Buddy Rich: I can hear everything! I don't give a fuck what you hear. I hear it, and all I know is that you're blowin' my fuckin' eardrum out!
(turns to the saxophones) The saxophones, you can play the flute, there's no sound in flutes. All I hear is noise. If you get any fuckin' closer you'll electrocute yourselves. What do you think I got a man with a sound system out there for? Sit down and play some fuckin' music! You afraid you won't be heard, is that it? I'll turn the motherfucker off all of you, then see what kind of a band you got up there, without all the assistance. You can't play shit!
I'm accustomed to working with number one musicians. I'm not accustomed to working with half-assed fuckin' kids who think they wrote the fuckin' music business. You got a long way to go. You got a long way to go. Every one of you got a long fuckin' way to go. Do you understand what I'm sayin'? You can't play shit up there for me. What the fuck you're doin' up there doesn't deserve to be called a "name" band. The fuckin' kids out at the park there, they sounded fifty times better than any one of you! And that's without a rhythm section. Maybe they enjoy what they are doin' here. If you don't enjoy it here, fuck you! And get off my band. Or we can find other ways to settle it.
I'm just so fuckin' tired of having to go through speeches with you guys. You're all a fuckin' bunch of children. There's not a man among you, not one man who can go out there and play the job like a man. You're all up there, fuckin' high school, bullshit jive artists. You jived me for the last fuckin' time. You got two sets to make up your fuckin' mind or I get me an all L.A. band tomorrow night. Don't think that's not impossible. It's very fuckin' possible. I've had it with you guys. I ought to give each one of you motherfuckers a cut in salary before I get out of this fuckin' room!
(Exit Buddy, slamming the door behind him)
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Thursday, October 21, 2010
Happy [posthumous] Birthday to Dizzy Gillespie
Happy [posthumous] Birthday to Dizzy Gillespie. I was lucky to see Diz twice--once at the Village Gate on Bleecker St. and once at the Paramount in Seattle (on the tour where he introduced his young protege Wynton Marsalis to the world). At the Gate, he performed some hilarious dance moves... (photo: Bird, with Diz).
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Monday, December 07, 2009
Video: The Milo Petersen trio live at Jack Straw Studios
A recording of the Milo Petersen Trio at Jack Straw Studios in Seattle, WA 9/20/08.
I've known Milo ,a/k/a Chris, since we were one year old--our parents were friends, and we were sometimes babysat together way back when. His band, The Jazz Disciples, released a CD "Visiting Dignitaries" a few years ago. It even includes a great tune he wrote for me and Keelin ("The Good") that clocks in at eleven minutes. He performed the song at our wedding, with Loch Clark (trumpet), Doug Ostgaard (sax), Cheryl Hardwick (piano), and--I think?--Moise Lucas on drums. I can't remember who played the bass.
Milo Petersen - Guitar
Chuck Kistler - Bass
Brad Boal - Drums
Doug Haire - Production
Brad Boal - Video Edit
Sonarchy Radio is a Jack Straw Production
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I've known Milo ,a/k/a Chris, since we were one year old--our parents were friends, and we were sometimes babysat together way back when. His band, The Jazz Disciples, released a CD "Visiting Dignitaries" a few years ago. It even includes a great tune he wrote for me and Keelin ("The Good") that clocks in at eleven minutes. He performed the song at our wedding, with Loch Clark (trumpet), Doug Ostgaard (sax), Cheryl Hardwick (piano), and--I think?--Moise Lucas on drums. I can't remember who played the bass.
Milo Petersen - Guitar
Chuck Kistler - Bass
Brad Boal - Drums
Doug Haire - Production
Brad Boal - Video Edit
Sonarchy Radio is a Jack Straw Production
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Monday, May 25, 2009
Eliana Burki on the Alphorn -- wow
A Tradition Jazz concert by Eliana Burki on the Alphorn and her band comprising Arnaud Francelet (Bass), Samuel Siegenthaler (Guitar), Adriano Regazzin (Keyboard), Anthony LoGerfo (Drums and percussion), Astrid Van der Haegen (Management and technicals) live at Someplace Else
At the risk of sounding crude, I have to say this gal knows how to work the pole.
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At the risk of sounding crude, I have to say this gal knows how to work the pole.
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Tuesday, May 05, 2009
Amazon's 100 greatest Jazz albums: C- (they got it maybe half right)
“The 100 Greatest Jazz Albums of All Time - Our [amazon.com] editors put their stamp of approval on the 100 best-ever albums from the ever-changing world of jazz. “ I dunno. This list smacks of a list by a committee -- the free jazz guy's choices get knocked down, so they have to give him a couple. One editor insists on a weird choice by a great player. As usual, with lists by critics, there are some bizarrely obscure/unworthy choices (like the way Captain Beefheart always turns up on rock lists). I make some of my own suggestions, and grey out the ones I don't think belong. I'm not going to make my own list--mainly because blogger already seems to be chokings on the formatting of this list...
A sampling of egregious omissions:
Charles Lloyd – Forest Flower? a tragic omission.
Charles Mingus Ah Um or Live at Antibes?
Miles – Milestones? Jack Johnson?
Anything by Joe Williams?
Anything by Nat King Cole?
Miles’ In a Silent Way? Birth of the cool? Miles Ahead? Seven steps to heaven?
Trane’s Giant Steps? My favorite things? Impressions? Ballads? Or that work of genius/trane wreck, Live In Seattle?
No John McLaughlin?
No Nina Simone!
No Jimmy Smith (The Sermon would have been nice)?
What about the Beau Hunks?
Bud Powell?
McCoy Tyner?
Bix?
1. The Shape Of Jazz To Come by Ornette Coleman
2. A Love Supreme by John Coltrane. Duh.
3. Bird And Diz by Dizzy Gillespie - It’s a good album. Very good. But also seriously flawed by the drumming of Buddy Rich. He was not a be-bop master and he’s an odd pairing with Bird & Diz. This album needed Max Roach, or Elvin Jones…someone on that order. In fact a review on Amazon says as much. Buddy could keep the time, no doubt, but he couldn’t keep the bop. One more thing that makes the album a questionable greatest—only the first six songs (around 20 minutes) are final takes. The other 18 tunes are outtakes of the first six songs. Yeah, hearing all the false starts and set aside takes of Leap Frog is fascinating. But ten? How many times will anyone listen to all ten versions?
4. Kind Of Blue by Miles Davis – Yeah, this album should be here. But it is tragically overplayed. As good as it is, we’ve all heard it too much.
5. Ella and Louis by Ella Fitzgerald. Yes.
6. Getz/Gilberto by João Gilberto. Sure, not bad.
7. Concert By The Sea by Erroll Garner. A wonderful album.
8. The Black Saint And The Sinner Lady by Charles Mingus, Wrong! They should have included Ah Um, or Live at Antibes instead. Or three or four other Mingus recprdings.
9. Speak No Evil by Wayne Shorter
10. Straight, No Chaser by Thelonious Monk
11. The Köln Concert by Keith Jarrett. I love this album. I don’t know if it is jazz. It’s improvisational and it’s like jazz…
12. Moanin' (The Rudy Van Gelder Edi… by Art Blakey & The Jazz Messengers
13. Chet Baker Sings by Chet Baker. I own this album and listen to it once a year or so. I still don’t know what I think if Chet’s singing. I like it because it’s so different from any other jazz singer. Does that mean it belongs in the 100 best?
14. Blue Train (Rudy Van Gelder Edit… by John Coltrane. I like this album, but maybe Giant Steps belongs here instead.
15. Out To Lunch (The Rudy Van Gelde… by Eric Dolphy. Yes.
16. Piano Starts Here by Art Tatum. Is this the right Tatum?
17. Go! (The Rudy Van Gelder Edition) by Dexter Gordon, Not so sure.
18. Count Basie At Newport by Count Basie. You had to have something by the Count.
19. Journey in Satchidananda by Alice Coltrane. I dunno?
20. Time Out by The Dave Brubeck Quartet. Why not?
21. Everybody Digs Bill Evans [Keepn… by Bill Evans. There are several better candidates.
22. Duke Ellington & John Coltrane by Duke Ellington. A sweet record.
23. Naked City by John Zorn. I like JZ—100 best? Cough cough.
24. Louis Armstrong Plays W. C. Handy by Louis Armstrong And His All-Stars. I’d have put in one of the Hot 5’s and 7 comps.
25. At Carnegie Hall by Thelonious Monk Quartet . With ‘Trane, one of the best albums of all time…pretty much rediscovered only recently. Wow.
26. Clifford Brown And Max Roach by Max Roach
27. Afro by Dizzy Gillespie
28. Sketches Of Spain by Miles Davis
29. Karma by Pharoah Sanders
30. Straight Ahead by Abbey Lincoln.
31. Charlie Parker With Strings: Com… by Charlie Parker. Yuk. Bird with strings is great Bird (if you ignore the orchestra)
32. Somethin' Else (Rudy Van Gelder … by Cannonball Adderley
33. Lady in Satin by Billie Holiday. Sure, but there are many others albums in the running. This seems arbitrary.
34. Body & Soul by Coleman Hawkins
35. A Night in Tunisia (The Rudy Van… by Art Blakey & The Jazz Messengers. Well, you had to have something by Blakey.
36. Afternoon In Paris by Stephane Grappelli. I think I’d have picked another album, but yeah, he should be here.
37. Compulsion by Andrew Hill. Who?
38. Monk'S Dream by Thelonious Monk Quartet
39. Suspicious Activity? by The Bad Plus. Who?
40. Bitches Brew by Miles Davis. Ok I guess…but no Milestones? No Jack Johnson?
41. Takin' Off (Rudy Van Gelder Edit… by Herbie Hancock. Should have picked Maiden Voyage.
42. The Famous Carnegie Hall Jazz Co… by Benny Goodman
43. Oscar Peterson Trio At The Strat… by The Oscar Peterson Trio
44. The Sidewinder (The Rudy Van Gel… by Lee Morgan
45. The Great Summit - The Master Tapes by Duke Ellington & Louis Armstrong. Yes!
46. Gershwin Plays Rhapsody In Blue by George Gershwin, Honestly, I like Leonard Bernstein’s version more. And really—is this jazz at all?
47. Idle Moments by Grant Green
48. Secrets of the Sun (1962) (Ocrd) by Sun Ra & His Solar Myth Arkestra, Should have picked Cosmic Tones!
49. Mythologies by Patricia Barber. Who?
50. Charles Mingus Presents Charles … by Charles Mingus
51. Such Sweet Thunder by Duke Ellington
52. The Great American Songbook by Carmen McRae
53. Once Upon A Summertime by Blossom Dearie
54. Unit Structures by Cecil Taylor
55. Hamp & Getz by Lionel Hampton
56. Nancy Wilson/Cannonball Adderley by Nancy Wilson And Cannonball Adde…
57. Song Of Innocence by David Axelrod. Who? Am I just going to assume this Axelrod is NOT the Obama henchman!
58. Heavy Weather by Weather Report. I’d have picked Mysterious Traveller, although most people would opt for one of the albums with Jaco Pastorius.
59. Slug's Saloon (disc 1) by Albert Ayler
60. Trio Jeepy by Branford Marsalis. Yes!
61. We Free Kings by Roland Kirk
62. Travelin' Light by Shirley Horn Not a fan.
63. A Night At The Village Vanguard … by Sonny Rollins Sonny is good but overrated.
64. Live In Paris by Diana Krall
65. Clifford Brown With Strings by Clifford Brown
66. Bags & Trane by Milt Jackson & John Coltrane
67. Midnight Blue (The Rudy Van Geld… by Kenny Burrell
68. Don't Go To Strangers by Etta Jones
69. Ellis In Wonderland by Herb Ellis
70. Jazz Impressions Of Black Orpheus by Vince Guaraldi Trio
71. Blue Rose by Duke Ellington & His Orchestra R…
72. Art Pepper Meets The Rhythm Section by Art Pepper
73. Helen Merill by Helen Merrill
74. The Blues and the Abstract Truth by Oliver Nelson
75. School Days by Stanley Clarke
76. Elegiac Cycle by Brad Mehldau
77. Wish by Joshua Redman
78. Artist In Residence by Jason Moran
79. Ahmad's Blues by Ahmad Jamal
80. Sax Pax For A Sax by Moondog
81. Black Codes (From The Underground) by Wynton Marsalis
82. The Right Touch by Duke Pearson
83. The Astrud Gilberto Album by Astrud Gilberto
84. Return To Forever by Chick Corea
85. Blues Dream by Bill Frisell
86. One Night Stand - The Town Hall … by Sarah Vaughn & Lester Young
87. Whipped Cream & Other Delights by Herb Alpert & The Tijuana Brass, I like this album, but I am not sure a fully charted album like this is really jazz at all.
88. Full Force by Art Ensemble Of Chicago
89. Bela Fleck and the Flecktones by Bela Fleck & The Flecktones
90. Mood Indigo by Jimmy Scott
91. Elis & Tom by Elis Regina
92. Offramp by Pat Metheny Group
93. Stan Getz And The Oscar Peterson… by Stan Getz
94. Husky by Skerik's Syncopated Taint Septet
95. Come Play With Me by Cuong Vu
96. Five Compositions (quartet) - 1986 by Anthony Braxton
97. Careless Love by Madeleine Peyroux
98. Jaco Pastorius by Jaco Pastorius
99. M'Boom by Max Roach
100. In My Element by Robert Glasper, Who???
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