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soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,430
https://londonjazznews.com/2023/02/01/rip-alan-bates-black-lion-candid-records/?amp=1
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Highlights von Rolling-Stone.deStudie: Dies sind die beliebtesten Schallplatten
Phil Collins im Interview: „Ich gehe nicht nach Hause und ärgere mich!“
Die 100 größten Musiker aller Zeiten: Nirvana – Essay von Vernon Reid
Edgar Froese und Tangerine Dream: „Den Geruch von Krautrock mag ich nicht“
Neu auf Disney+: Die Film- und Serien-Highlights im Mai
Amazon Prime Video: Die wichtigsten Neuerscheinungen im Mai
Werbunghier ist ein ziemlich guter Artikel ueber George Buck’s Labelfamilie, der einige meiner Fragen im Hoerthread beantwortet, ein paar Fehler korrigiert (der Wasseringenieur war der Vater des Musikproduzenten…)
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.Mit Cecil Taylor Monk gucken – „these are wonderful shoes … yes, Charlie!“
And as a treat, the footage of Cecil watching Monk on video that I mention in this piece. pic.twitter.com/ylUd2fnLhb
— Harmony Holiday (@Harmony_Holiday) March 19, 2023
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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, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,430
Metaphysical Masterpiece
Tim Price on John LaPorta
In 1970 a Berklee College of Music student told John LaPorta when John asked him what something was he had written – “Oh, it’s metaphysical.” Those of you who knew John can only imagine what was going to go down
John politely told the student, and responds in his unmistakable falsetto voice… “Metaphysical ??!! “ ….Then said, “Give me a minute.” We were in the front hall, to the right as you came into the 1140 building. It had a turntable, projector and tape decks. John returns with a LP of Stokowski’s arrangement of Debussy’s La Cathédrale engloutie. I was 19 and had never heard it – Debussy of course, this no
John told us listen to this – gave us a mental image of the piece. Right off the top of his head, it was not a part of the class. He was on a roll!! Telling us, “The opening of the piece gently brings in the cathedral, out of the water, with a melody that resembles waves. Then after a section marked Augmentez progressivement (Slowly growing), the cathedral emerges and the grand organ is heard with a powerful fortissimo. This is the loudest part of the piece. The cathedral then sinks back down into the ocean and the organ is heard once more, but this time from under water. Finally, it is out of sight and only the bells are heard at a distant pianissimo.
The room was stone cold quiet. The piece played on the turntable. Minds were blown! John was far from done. He went on, explaining that, in 1909 and 1910, Claude Debussy wrote a series of 12 preludes for solo piano. Among them is the mysteriously titled, “La Cathédrale engloutie” which translates to The Submerged (or The Sunken) Cathedral. Describing how the piece depicts the rise of a cathedral from the water and subsequent return to the depths – complete with bells chiming, priests chanting, and organ playing. Via ancient legend in which the submerged Cathedral of Ys rises slowly out of the sea, its bells ringing and priests chanting, and then sinks slowly back again into the watery depths
The class was still quiet. He looks at the entire class and smiles in his way and said, “ THAT…IS METAPHYSICAL, BABY ! „….
John LaPorta transcends the range of human evaluation. His depth and wisdom was a life inspiration. John loved Stokowski and in the times I’d go to his office he’d see I was interested and talk about woodwinds in Phila Orchestra, and the depth of how heavy you had to be to get Stokowski’s approval. He worked with Leopold Stokowski as well. The imagery he used to describe him was deep. David S. Ware was in that class with me and decades later we spoke of that day
John pioneered the use of Greek modes for teaching chord-scales. Check him out with Mingus, or Google him on YouTube. For my tastes, the hippest jazz clarinetist. I also loved his alto playing and tenor playing.
From 1970 to now…. that is still in my mind. Vivid as the day I heard John run it down. THAT…is education. Never forgot it, and “La Cathédrale engloutie” is something I go to and listen to a lot. I can’t hear the word metaphysical without seeing John’s face or thinking of him.
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Sehr schön, danke fürs Teilen!
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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, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,430
Jazz Musicians on your fav 60s rock hits. Just so Everyone Knows.1960s
Jazz Studio Musicians…. memories from Carol Kaye.
Few people know however of the large contribution to the ever-present 60s rock and roll hits cut by some pretty famous and enduring LA jazz musicians.
You’d be surprised who played on the hits of the Beach Boys, Monkees, Paul Revere & Raiders, Hondels, Righteous Bros., Marketts, Sam Cooke, Ronettes, Herb Alpert, Sonny & Cher, Bobby Vee, Don Ho, Nancy Sinatra, Mel Carter, Vickie Carr, Andy Williams, Johnny Mathis, Chad & Jeremy, Leslie Gore, Dobie Gray, O.C. Smith, Chris Montez, Gary Usher, Dick Dale, Deep 6, T-Bones, Grass Roots, Ripchords, Tiny Tim Stevie Wonder, Gary Zekeley, Mel Carter, Harper’s Bazaar, Hedge & Donna, Sun Rays, Gary Pickett/Union Gap, Spiral Staircase, Gary Lewis & Playboys, PF Proby, Little Richard, 4 Tops, Electric Prunes, Jan & Dean, Ike & Tina, Ventures, Zappa, Animals, Ray Charles, Kim Fowley, Parris Sisters, Santo & Johnny, New Seekers, Association, April & Nino, Beau Brummels, Paul Anka, Timi Yuro, a whole host of singers and surf and soul groups, Joe Cocker etc.
But this is about LA and the jazzmen I know and have played early jazz with as well as the so-called big hits we cut. I say so-called since we didn’t think that music would last that long (Bill Pitman used to kid in the 1960s, „can you see ‚darling they’re playing our song‘ 25 years from now“?), but the fact is, those groups of pop-rock-surf-funk-latin/soul recordings are still the largest groups of hot-selling recordings throughout the world (according to the Musician’s Federation/Union data records).
I got into recording accidentally while playing good jazz (guitar) with groups and big-bands since 1949, and in this instance, with Teddy Edwards‘ fine jazz combo (with Billy Higgins, Curtis Counce, etc.) in late 1957 when we played the Beverly Caverns club. Had been working around town quite a bit with Jack Sheldon, Frank Butler, Red Mitchell, heavies in jazz etc. and was at sort of a crossroads when the studio work (on guitar then, was a jazz guitarist, accidentally picked up the elec. bass in the studios late 1963) and began studio work by playing guitar fills on the Sam Cooke dates, later for other pop rock and soul groups (OJays, Ritchie Valens, etc.).
Having a family, I jumped at the chance to make some extra money in the studios, never mind the rumor that your jazz career would suffer . . . eating, taking good care of your kids was more important. Turns out, you’re working with almost the same bunch of musicians, Plas Johnson (the „Pink Panther sax), Pete Jolly, Jimmy Rowles, Joe Sample, Mike Melvoin, Don Randi, Earl Palmer (we didn’t play live together then as he was hot from the New Orleans studios, but he always was a fine jazzer, brought the swamp/boogaloo beat to LA), Howard Roberts (who a NY guitar player told me was a mentor to the brother guitarists in NY including George Benson who also spoke to me about Howard, he admired him so), Barney Kessel another jazz legendary great, Jack Sperling (still a fine jazz drummer), Frankie Capp (of course you know him), Irv Cottler (Sinatra’s great drummer), and on and on and on.
I’d say most of the early studio musicians on those surf recordings (they hired young guys to „be“ that group if our recordings hit, and we kept on doing „their“ recordings), rock records, and funk (some Motown too in LA), pop you name it, most the musicians were directly from the jazz world, highly experienced paid-their-dues musicians, and also mainly from big-bands, other types of jazz combos.
They needed the finest of musicians to make those very usually ordinary singers and sometimes very ordinary songs swing. They needed the frameworks for the songs we could instantly do. The arrangers for the most part early on in the 60s didn’t know how to write rock arrangements at first (HB Barnum was one of the only exceptions, he could write), and gradually heard what we were doing and learned how to write for the styles then. I’m speaking in general terms here as there were 2-3 who did but most didn’t for quite awhile.
The Phil Spector dates soon were arranged by Jack Nitzsche, the former copyist and go-fer for H.B. Barnum (H.B. could play some good jazz on sax and piano, trumpet etc.), Perry Botkin also did some Spector things and many dates for others too, later films and TV show…. and New Orleans‘ own Harold Batiste arranged for a few the Sonny & Cher dates -(btw, his nephew is Music Conductor for the new Colbert TV show now), jazz saxman and friend of Plas Johnson’s. BTW, Ray Johnson, Plas‘ brother is another hybrid — he’s one of the funkiest organists („Let’s Dance“ Chris Montez and on my commercial 1965 multi-guitar „Carol Kaye: Guitars ’65“ CD along with the rest of the 1965 hit making musicians) and a fine jazzer too. Harold Batiste was responsible for some excellent arranging Cher also. But the value and lick contributions of key rhythm section players, mostly jazz-oriented were counted on by all producers to improve all arrangements and complete the recording feel for all the records.
And why not? When you improvise jazz, you’re always constantly making up some fine licks, fine riffs, some fine low points, high-energy points, you’re constantly reaching the audience with the motifs and instantly thought-of frameworks, the spontaneous call and responses, the time changes and paradiddles, the drum fills, the chordal substitutes and intervals, and no-one knows how to back a singer better than the fine experienced jazz musicians.
The money was there and when you’re raising kids and get a chance to work in the studios, nice and safe, clean atmosphere, working with the finest of musicians, under the best respect and discipline, anyone will leap for this. We at first, made up parts in the early 60s, and the arrangers learned from the mostly-innovative jazz musicians how to write for the stuff right there, we saw it all go down (unlike many people who claim they *know*, we were there, we know. Very few of us wanted to go farther than be a sideman in the studios – it was a good business and wonderful life-style for a dedicated musician trying to raise a family.
We’d cut our little hits, go on to the next date and look forward to a quiet 1-1/2 hours home at dinnertime and the kids before going back to the night-time record dates. Some of us like Johnny Guerin, Howard Roberts, Barney, Shelly Manne (Shelly wasn’t quite into the rock sessions, but did a ton of pop dates along with a few rock and soul-gospel things along with his great movie scores – Lalo etc.) would still go out to play jazz gigs, if they had the energy.
Some of the regular jazz studio musicians on all styles of recording dates in the 1960s were: Sweets Edison, Pete & Conte Candoli, Cat Anderson, Chuck Findley, Bobby Shew, John Best, Snooky Young, Buddy Childers, Bobby Bryant, Don Ellis, Blue Mitchell, Bob Enevoldsen, Frank Rossolino, George Bohanon, J.J. Johnson, Billy Byers, Lew McCreary, Grover Mitchell, Dick Hyde, Charlie Loper, Mike Melvoin, Ray Johnson, Mike Lang, Joe Sample, Clare Fischer, Pete Jolly, Don Abney, Roger Kellaway, Jimmy Jones, Don Trenner, Gerald Wiggins, Art Hillery, Dave Grusin, Al Viola, Bob Bain, Herb Ellis, John Collins, Kenny Burrell, Howard Roberts, Barney Kessel, John Gray, Irving Ashby, John Pisano who wasn’t a big part of it as he was always on the road with Herb Alpert’s group, Bill Pitman, Joe Comfort, Don Bagley, James Bond, Al McKibbon, Red Mitchell, Red Calender, Buddy Clark, Ray Brown, Chuck Berghofer, Chuck Domanico, Joe Mondragon, Ralph Pena, Lyle Ritz, Jim Hughart, Morty Corb, Monty Budwig, Arthur Wright (bass and guitar), Bobby West, Bill Green, Jackie Kelso, Paul Horn, Jay Migliori, Buddy Collette, Bud Shank, Ernie Watts, Monk Higgins, Jerome Richardson, Abe Most, Tom Scott, Bill Holman, Jack Nimitz, Med Flory, Benny Golson, Peter Meyers, Bill Hood, John Klemmer, Earl Palmer, John Guerin, Paul Humphrey, Sharkey Hall, Jesse Sailes, Larry Bunker, Milt Holland, Joe Porcaro, Stan Levey, Jeff Porcaro, Panama Francis, Harvey Mason, Alvin Stoller, Sol Gubin, Louie Bellson, Ed Thigpen, Jake Hanna, Nick Ceroli, Harold Jones, Mel Lewis, Shelly Manne, Dick Stranahan, and so many more all played live jazz on the side too.
This doesn’t even touch the fine jazz players like Gene Cipriano (the most recorded musician I believe, he’s still working) and so many others who just gave up playing live. Of course you had a few „natural“ rock-funk-gospel players mixed in on some dates like Leon Russell, Glen Campbell and a few of the guitar players, but the rest of the band (from whence the instant arrangements came from for most of the very early 60s LA hits) were mostly from the real jazz ranks with many lead horn players from the big band days like Johnny Audino, Tony Terran, Ollie Mitchell, Bill Peterson, Maurie Harris, Jules Chaiken – most of whom were fine jazzmen too. The list of over 350 studio musicians goes on and on. These musicians were responsible for the finest decade of hot recorded music, the golden 60s. Plus the great TV shows and movies of the late 60s and early 70s.
So next time you listen to Richie Valens‘ La Bamba (Buddy Clark – fine jazz bassist, Rene Hall on Dano – he was a fine musician, jazz and blues guitar and organ, Earl Palmer, I just played rhythm guitar on that one), Sam Cooke, the Phil Spector-produced dates (he loved and admired jazz musicians, had to have them on his dates) like the Ronnettes, Righteous Bros., Bob B Soxx, Tina Turner etc., and all the surf groups, including the Beach Boys etc. you’re hearing jazz solid feel and lick/arrangement contributions.
Everyone used to say „shh“ don’t tell anyone we play jazz on the dates with the other younger producers who appeared on the scene in the beginning of the 1960s– they wouldn’t have hired jazz musicians but we got everyone hits so we’d all be working next year — Harry Nilsson, Beau Brummels, Ventures, Frank Zappa, Duanne Eddy, Liverpool 5, Doors, Everly Bros., Hollies, Ripchords, Sun-Rays, Buffalo Springfield, Richard Roundtree, Electric Prunes, Simon & Garfunkle, Association, Bobby Rydell, We 3, Young Americans, David Axelrod, 5th Dimension, 4 Tops, Supremes, Kingston Trio, Rudy Vallee, Johnny Otis, Bishops, Glen Campbell, Lou Rawls, Ray Charles, Bob Lind, Joe Cocker, April & Nino, Crystals, Lettermen, Buckinghams, Dino-Desi-Billy, Gary Lewis & Playboys, Bobby Goldsboro, Marketts, Jewel Akens, Jackie DeShannon, Bob B. Soxx & Blue Jeans, OJ’s, are just a few of the groups we all recorded and invented for etc.
The jazz musicians who worked on the Beach Boys dates included Jay Migliori, Plas Johnson, Pete Jolly, Mike Melvoin, Don Randi, Gene and Alan Estes, Bill Pitman, Lou Morell, Emil Richards, Victor Feldman, Frankie Capp, Howard Roberts, , Barney Kessel, Julius Wechter, Lyle Ritz (used to be Paul Horn’s string bassist) and I shared the bass role, he on string bass and I was on elec. bass.
True the guitarists on the Beach Boys dates included Billy Strange (solos on „Surfin‘ USA“ (per Union contracts), „Sloop John B“ etc. and Glen Campbell – also, some great guitar rock solos were also played by one of the finest jazz legends in history, Howard Roberts – who you hear soloing on many a great movie theme and TV themes too (Bullitt, Mission Impossible, Batman, any distinctive guitar film soloing is Howard Roberts).
When you worked quite a bit with either Glen or Billy, two hot guitar players, you’d quickly decipher their jazz influences too. While Glen never worked the fine black nightclubs where you get your true test as a bebop jazzer, he knew and could play a number of jazz tunes on guitar (howbeit with a slight country-swing feel), and ditto for Billy Strange who took guitar lessons from my teacher, the same educator who taught Howard Roberts, John Gray, Jimmy Wyble, etc. The feel was there and because jazz musicians are constantly creating every note in jazz, it was easy to also create instant good lines on other styles of music. Mac Rabbenac was an important part of our rock-recording scenes for awhile too (Dr. John)…a few would come in and record for 1-2 years and be gone, either to be „stars“ or on the road like with Elvis etc. It took more than just some ability to solo and play some fills to be a long-time Studio Musician – quite a few would be a Studio Musician in records only for awhile and then be stars themselves, the money was more then, but being a Studio Musician was the best that dedicated musicians could be, both in pay with respect, and a long-term career.
So the next time you’re listening to those hits, just know that jazz studio musicians contributed a lot to the 1960s recorded music era.
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Danke – so eine Geschichte fände ich für Chicago mal spannend… oder New Orleans. In der Liste von Kaye stehen halt viele Namen, bei denen ich die Jazz-Credentials etwas in Frage stellen würde (nicht aus Gründen des Könnens, eher wegen getroffener Wahlen sowohl beim Jazz/Funk/Muzak, den die Leute abseits der Studiojobs spielten, wie auch hinsichtlich der Wahl, dass manche kaum noch Jazz spielten bzw dies allenfalls unterhalb der rückblickenden Wahrnehmungsschwelle?).
Was ich meine ist Tom Scott bei Dingens vs. Kidd Jordan bei REM oder Roscoe Mitchell bei Jerry Butler.
Gibt da wohl auch so einiges, was nicht einfach bei den Credits-Listen in Discogs steht, weil Line-Ups halt oft nicht angegeben oder bekannt/überliefert/dokumentiert sind.
Die Hollywood-Szene ist da ja vergleichsweise sehr gut bekannt (gibt ja z.B. auch Curtis Amy bei The Doors, das wäre ein Fall, der auf die Jordan/Mitchell-Seite gehört).
Vielleicht haben meine Vorbehalte auch damit zu tun, dass Line-Ups mit solchen kalifornischen Studio-Leuten gerne Sachen mit mehr Potential weichspühlten, von Art Farmer mit Lateef und diesem David Matthews bis zu James Brown).
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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, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaAuf „King Heroin“ von James Brown ist wohl eine CTI-Studioband zu hören, u.a. mit Billy Cobham, Seldon Powell und Joe Beck. Das kann man ja auch fast nicht glauben, aber wurde wohl von David Matthews arrangiert.
Und Slide Hampton und Melba Liston hatten auch für das Label von Lloyd Price was arrangiert – Double-L Records.
Hier wäre ein Hörbeispiel auf „Dawanda Records“ -arrangiert von Melba Liston. Da sind im Vergleich zu den Sachen aus Kalifornien natürlich kaum richtig große Hits zu finden.
Bei Double-L Records tauchte auch Sammy Lowe auf, der ursprünglich lange Zeit mit der Erskine Hawkins Band zu tun hatte. Lowe hat Credits u.a. bei Sue Records (Baby Washington). Da sind interessante Sache bei und man würde vielleicht nicht jemand aus alten Big Band Tagen bei Sue Records vermuten. Es gab sogar eine Single vom Mary Lou Williams Trio auf Sue.
Die Studiotermine von Shelly Manne sind allerdings echt unglaublich. Neben den eigenen Sachen steht da noch sehr viel. Hatte er jemals Urlaub, oder Auszeiten in irgendeiner Form? Allein im Jahr 1959 zähle ich ca. 30 Alben/Sessions und es wurden gefühlt immer mehr pro Jahr in der nächsten Dekade.
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soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,430
Good morning @ „gypsy“, mir war bewusst dass die Erinnerungen von Carol Kaye auch eine vom Jazz differente Gemengelage hat, wollte aber ihre Erinnerungen (mangels anderer Threads eben hier) dokumentiert wissen ….
Für mich hat der West Coast Jazz ein beständiges Faszinosum und das hier eine Tendenz zum „weichspülen“ war Teil des Gesamtpackets.
Die Mitwirkung an Produktionen in anderen Genres natürlich auch die Möglichkeit unsererseits geschätzte Musiker (mangels Aufnahmemöglickeiten im Jazz) zu hören …. und unverhofft kommt …. manchmal …. zB :
Hier bekommt knapp vor Weihnachten 1977 Paul Desmond von Art Garfunkel Zeit und Platz sich von dieser Welt zu verabschieden …. wonderful ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Guten Morgen – diese Momente finde ich ja auch klasse … wir hatten und haben demnächst auch wieder Wayne Shorter bei Joni Mitchell. Das sind aber eben die Fälle, wo ich keine Fragen habe.
Und in Sachen Chicago: die grossen Hits gab’s bei Chess ja ab der Stange und dort tauchten wohl eben auch dauernd Jazzer auf – aber auch Leute aus der Avantgarde, bei denen man das echt nicht erwarten würde (Earth Wind & Fire war ja quasi ein Ramsey Lewis Trio Spin-Off … und Lester Bowie brachte seine Leute natürlich ins Studio mit Fontella Bass … ich dachte, es gab auf Org mal einen Faden dazu, aber kann den leider nicht finden). Big Band-Leute, die plötzlich in den Sechzigern irgendwo aufkreuzen, wo man sie nicht erwarten würde, sind mir auch hie und da begegnet … und bei James Brown hab ich das ja auch hier im Forum mal recht detailliert abgehandelt – da gibt es auch die paar Ausnahmetracks, auf denen die Studio-Cracks wirklich reüssieren und so funky klingen, dass man ihre Arbeit locker als die von Fred Wesley et al. verkaufen könnte. Aber die Tendenz ist halt schon eine zu einem leichteren, gepflegteren Sound (Beach Boys, nicht Lloyd Price).
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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, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,430
@ „gypsy“ : ein sehr interessantes Thema …. btw muss mal wieder auch Deine James Brown Observationen nachlesen …. weißt Du wann/in welchem Thread das passiert ist …. ?
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)soulpope@ „gypsy“ : ein sehr interessantes Thema …. btw muss mal wieder auch Deine James Brown Observationen nachlesen …. weißt Du wann/in welchem Thread das passiert ist …. ?
Ab hier glaub ich:
http://forum.rollingstone.de/foren/topic/james-brown-3/page/5/#post-7193665
Und auf den kommenden Seiten dann so grob chronologisch (ich hab das alles später aber mal noch in einem Dokument für mich etwas überarbeitet). Die Studio-Bands beginnen glaub ich so um 1971 herum?--
"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, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,430
gypsy-tail-wind
soulpope@ „gypsy“ : ein sehr interessantes Thema …. btw muss mal wieder auch Deine James Brown Observationen nachlesen …. weißt Du wann/in welchem Thread das passiert ist …. ?
Ab hier glaub ich: http://forum.rollingstone.de/foren/topic/james-brown-3/page/5/#post-7193665 Und auf den kommenden Seiten dann so grob chronologisch (ich hab das alles später aber mal noch in einem Dokument für mich etwas überarbeitet). Die Studio-Bands beginnen glaub ich so um 1971 herum?
Danke + ja ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Passend hab ich vorgestern „Black Caesar“ geguckt:
„Down and Out in New York“, wurde mit Studio-Musikern eingespielt. Dieses Mal ist die Band unbekannt, bis auf Pat Rebillot (elp), Sam Brown (ac g), Hugh McCracken oder Charlie [Sam?] Brown (el g), Steve Gadd (d) und Buster Williams (b). Letzterer scheint Fred Wesley, der die Nummer arrangiert hatte, einige Mühe bereitet zu haben:
I transcribed those mutterings into musical terms … Then it had to go from me to (drummer) Steve Gadd, which was easy because he understood what I was saying and did it without any question. On the other hand, (bassist) Buster Williams was pretty set in his ways. He was a pure jazz player and even though it was a call session, he didn’t feel like doing something that far off his style. But when he finally did it, it was wonderful.
(aus Alan Leeds: „James Brown – Turn on the Heat“, Liner Notes zu: „James Brown: Make It Funky – The Big Payback: 1971–1975“, Polydor 1996)
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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, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,430
gypsy-tail-windPassend hab ich vorgestern „Black Caesar“ geguckt:„Down and Out in New York“, wurde mit Studio-Musikern eingespielt. Dieses Mal ist die Band unbekannt, bis auf Pat Rebillot (elp), Sam Brown (ac g), Hugh McCracken oder Charlie [Sam?] Brown (el g), Steve Gadd (d) und Buster Williams (b). Letzterer scheint Fred Wesley, der die Nummer arrangiert hatte, einige Mühe bereitet zu haben:
I transcribed those mutterings into musical terms … Then it had to go from me to (drummer) Steve Gadd, which was easy because he understood what I was saying and did it without any question. On the other hand, (bassist) Buster Williams was pretty set in his ways. He was a pure jazz player and even though it was a call session, he didn’t feel like doing something that far off his style. But when he finally did it, it was wonderful.
(aus Alan Leeds: „James Brown – Turn on the Heat“, Liner Notes zu: „James Brown: Make It Funky – The Big Payback: 1971–1975“, Polydor 1996)
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Das war mir nicht bewusst mit Buster Williams + Steve Gadd …. und „Down And Out In New York City“ ist wundebar ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)
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