15 Apr 11
Originally posted by FMFI just say the John Abercrombie Organ Trio last weekend at a Glendale Az jazz festival.
John Abercrombie, Eddie Gomez, Gene Jackson – Structures (2006)
Nguyen Le - Songs Of Freedom (2011)
Bohuslan Big Band - Dont Fence Me In - Plays The Music Of Cole Porter (2011)
The trio had a tough time due to some noise distractions but when they hit stride they were terrific.
15 Apr 11
Was just reading an interview with Bley. His story of Ornette Coleman and Don Cherry joining his band in '57 is a gem.
When I arrived in Los Angeles after along college tour with a trio that I brought from New York we added the vibraphone player, Dave Pike, and went into the Hillcrest Club and stayed roughly close to two years; six nights a week. ...And over that period of time some of the players went back east and were replaced. Billy Higgins replaced Lennie McBrowne, Charlie Haden replaced Hal Gaylor, the Montreal bassist.
One night Billy Higgins said, “a friend of mine, Don Cherry, brought a saxophone player and wants to sit in”. I normally never let anybody sit in... but because it was somebody in the band and they almost never made any recommendations for somebody to sit in we said “no problem”. After playing one set with them Charlie and I went out in the back yard and had a confrontation. We said. “Look, we have been working in this club for a long time and most probably could stay here as long as we wanted. If we fire Dave Pike and hire Don and Ornette we won’t last the week. We’ll be lucky to last the night. What shall we do?” And we looked at each other and said — “Fire Dave Pike!” (Laughter)
Well a good relationship with the owner allowed us to stay another three or four weeks on that job. It was historically amazing. And socially, in the club it was hilarious. Look at the situation. A quartet that is a house band, very successful in a club, making money for the club, all of a sudden changes its policy and hire’s two horn players in place of a vibist. The music in 1957 was certainly a lot more dramatic and revolutionary than Albert Ayler when he first came out, and he created a tremendous stir. It was really similar to some jokes, I’ve told jokes about it. When you were driving down Washington Boulevard and you looked at the Hillcrest Club you always knew whether the band was on the bandstand or not. If the street was full of audience in front of the club, the band was playing.
Every set we’d go up and we’d play and the club would totally empty out, they’d leave their drinks on the bar and everything. Totally empty out, it’s socially possible in California, there’s warm weather and it’s very friendly there. So everyone would be out on the street. And as soon as the band stopped they would all come back in and drink, talk and shout and be happy and be merry and then we’d go back on and they would empty out and wait on the street. They really loved the place, loved the band. Loved what they thought the band used to be. That’s what the situation was.
http://vancouverjazz.com/bsmith/2008/08/paul-bley.html
15 Apr 11
Originally posted by ThinkOfOneThat probably encapsulates where you're coming from in terms of communication through jazz piano. But, whatever floats your boats. I certainly gravitate towards music that floats mine.
Since you mentioned it, I'd also take Taylor over Jarrett