vorgarten
gypsy-tail-windDas ist „For Losers“ ohne den Schriftzug?
ja, seltsam. vielleicht war es als schattenriss gemeint und wurde später deutlicher angebracht.
Ach so, jetzt sehe ich den Schriftzug – heute Nachmittag im anderen Zimmer mit der ganzen Helle eines verschneiten Sonnentages sah ich gar nichts!
Was BYG angeht, ich erinnere mich an eine Stelle in einem Interview mit Noah Howard – zu einer Story umgearbeitet, die PDFs aus dem Wire-Archiv sind ätzend, man kann keinen Text kopieren und den oberlausigen Text, den man direkt im Archiv unterhalb der Scans lesen kann, kann man auch nicht kopieren. Doch es gab davon dann noch das O-Ton-Interview-Transkript von Phil Freeman, die relevante Passage daraus ist diese:
What about when you went to Paris in 1969-1970? You worked with a few other people then.
Everybody had emigrated to Paris. I used quite a few French musicians also. But being away from home, everybody sort of bonded together. When they were in the studios, they all worked with people that they knew. Whereas I went off into a real strange thing, because when I got there there was Kenny Clarke and Art Taylor, who had been longtime residents. They had been there almost ten years before I arrived. The first person I got together with was Art Taylor. I called him for a session, because we used to all hang out together. So I said, ‚Look, I got this session tomorrow morning. You wanna hit it? We’ll go in, we’ll rehearse for five hours, then we’ll tell ‚em to turn on the machines and we’ll do it.‘ I wrote the music out, and we just did it. That was the Uhura thing that just came out on Verve. It’s got Frank’s name, but that’s my session. I did two sessions, Uhura and Space Dimension. I wrote all the songs. I also did One For John with Frank, with me, Frank, Bobby and Muhammad. Then in one of my crazy moments, I did Black Gipsy with Shepp. Beautiful, mad, mad session. It was really great, it was fun. The violin and the poets – Julio Finn and these guys from Chicago. Great stuff.Why didn’t you record for BYG as a leader yourself? Was it because you could see that they were crooked?
That was the problem. I brought Frank, Bobby and Muhammad to Europe. We were supposed to do, there was supposed to be a Paris jazz festival. But the kids were rioting in the streets. So the governmental authorities moved the thing to the Belgian/French border, to a little village called Amougies – a farm, really, like Woodstock. Thirty thousand people, I’ll never forget that. But the problem was, BYG – I negotiated with them that we’d come in, play the festival and do two record deals, one for me and one for Frank. So they did the Frank thing first, and they didn’t pay him.
Und dann noch der Grund, weshalb Howard da anders tickte als die anderen:
So you prefer licensing albums to signing with labels?
Licensing is better than selling it for life and not getting the money, right? My people in New Orleans were business people. I grew up understanding how you do business and have fun. You can do both, and be creative. It’s not contradictory. Now, it’s becoming more and more a reality. At that time, I think I was a little bit ahead of the game.
Quelle:
The Wire 263, January 2006 / Unedited transcript by Phil Freeman
http://www.thewire.co.uk/web/unpublished/noah_howard.html (Datum habe ich nicht notiert, aber das Word-Dok ist vom Juli 2013 – gut möglich, dass es nach Howards Tod im September 2010 mal online gestellt wurde und ich es dann kopierte/sicherte)
PS: mit „came out on Verve“ meint Howard das Reissue aus der Free America Series von Universal (klick)
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba