vorgarten
Well, Alfred Lion took me out to dinner and he asked me if I would like to record for Blue Note, if I would like a contract. I said sure, and he said [Spaulding does his best German accent] „well, you know you have a family (I had just had my first daughter) and you want to write some music for the jukebox!“ He said „you want to write some ‚Watermelon Man.‘?“ At the time he wanted something like Lou Donaldson’s „Alligator Boogaloo,“ and as I was eating I said „okay Alfred, I’ll be talking to you later.“ I never got back with him; I had all this stuff I’d written up, and that just killed all of that.
von hier.
zusammen mit dem nächsten Absatz:
AAJ: What kind of stuff had you written?
JS: Well, some bebop, some swing, some traditional kinds of things. Hopefully it would’ve introduced me on the label; it was around ’65. He told me that, and I love Lou Donaldson, but I didn’t want to play that stuff all night long. I wanted to play free and I wanted to play bebop all night. If I did play something with a backbeat, it would be at the end of the set where people would get up and dance. I’d go to the club and people would say „play that fatback, man!“ One guy told me „play some Herbie Mann“ and I thought, well… Another guy told me to play „Swing Shepherd Blues“ and I thought „okay, I’ll play „Swing Shepherd Blue…“ and the guy handed me a ten-dollar bill [laughs].
liest sich das ja so, als wollte Alfred Lion ab 1965 nur noch Souljazz für die Jukebox produzieren. Oder wollte er speziell nur James Spaulding eine kommerzielle Session aufs Auge drücken ?
Etwas seltsam, jedenfalls erscheint der grosse Alfred Lion da in keinem so gutem Licht. Oder war er es zu dem Zeitpunkt schon etwas müde, nachdem er jahrelang das Label an der Existenzgrenze betrieben hatte ?
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life is a dream[/SIZE]