gypsy-tail-wind… wobei ich ja Clare Fischer schon als ziemlich guten Jazzpianisten höre, Marx vielleicht eher als „funktionalen“? Die „lyrics and TV-jingles“ sind ja auch bei Frigo ein Thema … gedankenspielerisch würde mich das Szenario, dass Frigo auf andere Leute trifft, halt schon recht interessieren. Nicht Tristano, eher den jungen Hal Russell oder so. Hätte ja in Chicago durchaus passieren können. Wobei „jung“ … Frigo war Jahrgang 1916, Russell mit 1926 auch nicht mehr direkt jung, als er mit Joe Daley unterwegs war (1963).
Den Jankowski-Verweis empfand ich übrigens gar nicht als abschätzig, das passt schon.
ja, Fischer ist richtig gut, solange er sowas wie ein Klaviertrio leitet… ein bisschen dubios wird es, sobald es ambitionierter wird als das (s. zB hier, auch das Interview ab Minute 11…) diese ganze weisse Bebop-Szene aus Chicago kannte sich natuerlich, Jay Burkart Big Band ist das Stichwort…
hier ist eins von den relevanten Larry Kart Zitaten von .org
When the jingle industry flourished in Chicago in the ’60s and ’70s for some reason, lots of jazz players made good/great livings in that line of work because their talents and training gave them the ability to make the seat of the pants adjustments that such gigs often required.
BTW, one of the reasons such situations arose so often in the jingle trade is that the guys from the ad agency who were in charge typically knew little or nothing about music and could only say something along the lines of „That’s not what I’m thinking of/not what I had in mind“ without being able to specify musically what they did want — this while the guy who wrote the music (e.g., Marty Rubenstein or Dick Marx) tore his hair out. Then someone on the date like Art Hoyle or George Bean or Johnny Frigo or Kenny Soderblom would say, „How about this?“ and play something that fit the ad guy’s inchoate notion of what he wanted, and the problem would be solved. In a „time is money“ setting, Hoyle, Bean, Frigo, Soderblom et al. earned every buck they made.
bzw (gleiche Geschichte vom gleichen Erzaehler, besser erzaehlt aber ohne die Namen)
BTW, I would love to read a history of Chicago’s very vigorous jingles scene, which Chuck mentioned. I think it was Art who told me that the reason so many jazz musicians were prominent there was that could they were inherently flexible and imaginative and could think on their feet in a business where getting things right and on time was essential. In particular, the guy in charge, the client’s representative, often was a guy from an ad agency who might have little musical knowledge. One of the scene’s many talented composer-arrangers, say Dick Marx (longtime pianist at the London House), might have written the jingle, but if it was a jingle for, say, a breakfast cereal or a shampoo, the ad agency rep might complain, „No good — it’s not crunchy (or foamy) enough. Make it crunchier or more foamy — you’ve got five minutes.“ And guys like Art or bass trumpeter Cy Touff (another jingles mainstay) would put their heads together and come up with more crunch or foam just like that.
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