diese Theorie, dass es einen Cool Jazz Einfluss auf den brasilianischen Bossa Nova gegeben hatte, stand glaub ich auch schon in Behrendts „Jazzbuch“ von 1989, und wahrscheinlich war sie auch da nicht neu… da brauchte es jedenfalls nicht Bud Shank 2008 fuer
ich bild mir ein, ich hatte neulich mal ein Shank Interview, in dem er ein mehr Saetze zu Peacock gesagt hat
edit, das hier koennte es gewesen sein:
zuletzt geändert von redbeansandriceFrom about 1960 to 1963, I often played at the Drift Inn in Malibu, usually, with Carmell Jones, Dennis Budimir, and Gary Peacock. Dennis and Gary were very adventurous, especially in their conception of time, and being the early sixties it was a little early for that, so I used to hire some very straight ahead drummers to keep it all together. I didn’t want to tell them to cool it. because I wanted them to have their freedom. So the drummers tended to vary, but more often than not, we had Frank Butler with us. Lee Marvin used to come to the club all the time, as did a lot of movie people, because many of them lived in Malibu. We recorded for Richard Bock in 1961, and although I only played alto with the group at the club, Dick wanted me to play baritone on a couple of numbers, because I had just come second in the baritone section of the Playboy Readers‘ Poll. We used Mel Lewis on the album because. on the morning of the date, Dick Bock telephoned to say that our drummer had just been busted, so I said, „Get Mel, real quick!“ That was the last jazz record I made for a long time, because right after that our music seemed to disappear; it was the end of that era.
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