Che notti! Dedicato a Pepito & Picchi Pignatelli

Entendance
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Che notti! Dedicato a Pepito & Picchi Pignatelli Aug 4, 2024 10:42:43 GMT -5

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Post by Entendance on Aug 4, 2024 10:42:43 GMT -5

Roy Haynes 99 years old

Drummerworld: Roy Haynes

The Beach & Roy Haynes

Is This the Greatest Photo in Jazz History?

Roy talks about playing with Charlie Parker in the late 1940s and early 1950s, the big difference between his and Max Roach's drum style, a passion for cars that he shared with Miles Davis, and what it was like to play behind Sarah Vaughan, Sonny Rollins and Billie Holiday

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Aug 11, 2024 11:34:41 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Aug 11, 2024 11:34:41 GMT -5 Entendance, Elvin Jones & Steve Grossman Soprano Saxophone, Tenor Saxophone – David Liebman Tenor Saxophone – Steve Grossman Bass – Gene Perla Drums – Elvin Jones
	Last Edit: Aug 11, 2024 11:39:08 GMT -5 by Entendance

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Che notti! Dedicato a Pepito & Picchi Pignatelli Aug 12, 2024 12:35:02 GMT -5

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Post by Entendance on Aug 12, 2024 12:35:02 GMT -5

Lester Bowie's Brass Fantasy

Lester Bowie's Brass Fantasy was an unexpected pop venture that brought ECM Records into unfamiliar territory. Here's the story behind the group!

The Beach & Lester Bowie

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Che notti! Dedicato a Pepito & Picchi Pignatelli Aug 17, 2024 12:52:58 GMT -5

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Post by Entendance on Aug 17, 2024 12:52:58 GMT -5

!

Gato Barbieri 🎷 Jul 23, 2016

Gato Barbieri 🎷 Oct 4, 2018

Gato Barbieri 🎷 Jun 22, 2024

A FIRESIDE CHAT WITH GATO BARBIERI

El eterno resplandor del Gato Barbieri

Leandro ‘Gato’ Barbieri was born in Rosario, Argentina, into a musical family...

Last Edit: Sept 8, 2024 7:35:57 GMT -5 by Entendance

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Sept 2, 2024 11:47:04 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Sept 2, 2024 11:47:04 GMT -5 RUTH UNDERWOOD: A MOTHER OF INVENTION
	Last Edit: Sept 2, 2024 11:51:33 GMT -5 by Entendance

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Sept 7, 2024 12:57:06 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Sept 7, 2024 12:57:06 GMT -5 Saxophone colossus Sonny Rollins remains an elder statesman of jazz The Beach & Sonny Rollins

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Che notti! Dedicato a Pepito & Picchi Pignatelli Sept 8, 2024 11:50:22 GMT -5

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Post by Entendance on Sept 8, 2024 11:50:22 GMT -5

Mike Mainieri

A Conversation with Mike Mainieri

Michael T. Mainieri Jr., born in New York on July 4, 1938, began playing vibraphone at age 10...

Vibraphonist, Composer, Producer & President of NYC Records, Inc.

Last Edit: Sept 8, 2024 12:11:52 GMT -5 by Entendance

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Sept 13, 2024 3:12:39 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Sept 13, 2024 3:12:39 GMT -5
	Last Edit: Oct 12, 2024 8:23:41 GMT -5 by Entendance

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Che notti! Dedicato a Pepito & Picchi Pignatelli Sept 17, 2024 9:28:37 GMT -5

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Post by Entendance on Sept 17, 2024 9:28:37 GMT -5

Yo Miles! has gone beyond the fundamental with songs that breathe the spirit of Davis to create an atmosphere that resonates with a fire and an essence of their very own. Kaiser and Smith's knowing explorations through Miles' complex electro-funk realm revisits the dread while expanding the beauty. -All About Jazz

Henry Kaiser / Wadada Leo Smith / Yo Miles! Henry Kaiser & Wadada Leo Smith – Yo Miles!

Henry Kaiser & Wadada Leo Smith / Yo Miles! Sky Garden Henry Kaiser & Wadada Leo Smith : Yo Miles! – Sky Garden

Henry Kaiser / Wadada Leo Smith / Yo Miles! Upriver Henry Kaiser & Wadada Leo Smith : Yo Miles! – Upriver

Nov 19, 2022 17:27:46 GMT -5 Entendance said:

What Kaiser and Smith have demonstrated with the Yo Miles! project, above all, is that the jazz fusion idiom essentially created by Davis (with a little help from his early collaborators and some inspiration from rock and funk influences such as Jimi Hendrix and James Brown) was a great vehicle for creative playing, providing possibilities both for tight, funky ensemble work à la Brown and extended collaborative improvisations. Of course, musical second-raters subsequently rode jazz fusion into the ground, but the Yo Miles! cast demonstrates that the form itself is still vital when it's in the right hands. Kaiser and Smith shine, as usual. Smith, who was once dismissed as a cerebral jazz intellectual, is ebullient and expansive throughout.

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Sept 20, 2024 4:59:08 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Sept 20, 2024 4:59:08 GMT -5

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Che notti! Dedicato a Pepito & Picchi Pignatelli Sept 29, 2024 11:18:32 GMT -5

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Post by Entendance on Sept 29, 2024 11:18:32 GMT -5

Miles Davis’ sextet that existed from 1973 to 1975 is one of the more misunderstood and under appreciated bands in Miles’ career.

By the mid 70s, very little was left of Miles’ mid 60s post bop, and he was even starting to move further from the fusion he adopted in the late 60s. Instead, this group, which consisted of Pete Cosey and Reggie Lucas on guitars, Mtume on percussion, Al Foster on drums, Michael Henderson on bass and Sonny Fortune on saxophone, was experimenting with static music, ambience, Stockhausen’s momente form, and layering multiple rhythms ala African music. Much of what they did often sounded like jazz fusion, but closer listens reveal a band that was exploring unknown terrain with their attempts to create music without specific form, music that was based on short melodic and rhythmic ideas that could be utilized and layered by any of the musicians at any time.

This brave new combo was best represented on the studio album, “Get Up With It”, and two live albums that took place on February 1, 1975, “Agharta” and “Pangaea”. The “Agharta” concert took place in the afternoon, while “Pangaea” went down at night. Of the two concerts, “Agharta” shows the band in top form, while “Pangaea” has some strong moments, but also some disorganization and fatigue. Apparently Miles was sick for the evening concert and the loss of energy is apparent, but still the band manages some excellent passages all the same.

Side one of “Pangaea's four sided concert starts strong with some relentless psychedelic funk rock. Guitarist supreme, Pete Cosey, is in fine scorching form as the band pummels the audience with a fierce assault. Notice as this side progresses, the funk starts to fracture and the more avant-garde side of the band comes through as the musicians layer almost incongruent rhythms and tonalities. Side two continues with more psych funk until Reggie and Michael take over for a somewhat mundane rock jam that is really not up to par for this group.

Side three gets things back on track as Sonny Fortune performs a mysterious exotica flute solo over a well known Henderson bass vamp. Later, Reggie starts playing something that almost sounds like a real song with chord changes amongst the cosmic ‘no chord changes’ murk and finally Pete Cosey kicks in with another searing blues soaked guitar extravaganza. On side four the band seems to run out of steam as Sonny has pretty much disappeared, while Reggie tries various riffs that no one picks up on and Mtume plays with his bizarre rhythm machine and Cosey toys with his synthi and various odd percussion instruments. As mentioned earlier, Miles was not feeling well during this show and his playing takes on the cries of a wounded spirit with very little semblance to the jazz soloing he had been known for in the past. Still, a lot of creativity went into his attempts to make the trumpet into something entirely different and his sound oriented approach is a big part of many modern horn players.

This is a fascinating sextet and well worth checking out further. “Pangaea”, may not be their best moment, but there is enough good on here to make it worth picking up. Besides the other two albums already mentioned, you can also hear this band on various Miles collections and complete boxed sets. -MILES DAVIS — Pangaea (review)

Jun 30, 2019 at 2:53pm: Agharta e la visione di Miles Davis

The Beach & Miles Davis

Last Edit: Oct 2, 2024 6:38:57 GMT -5 by Entendance

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Che notti! Dedicato a Pepito & Picchi Pignatelli Oct 6, 2024 9:15:49 GMT -5

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Post by Entendance on Oct 6, 2024 9:15:49 GMT -5

Live in Nervi '78 Sam Rivers Quartet

July 23,1978 10:00 p.m. Parchi di Nervi (Italy): Archie Shepp , Max Roach Duo

Non potevo mancare il festival del Jazz di Nervi del 1979, con un programma davvero strepitoso e così tornai, armato di macchina fotografica e registratore, come l'anno precedente. Fotografai e registrai tutto, Art Ensemble of Chicago, Dollar Brand Big Band, Muhal Richard Abrams da solo al piano, il quintetto di Guido Manusardi e Old and New Dreams con Ed Blackwell alla batteria, Charlie Haden al basso, Dewey Redman al sax tenore e Don Cherry alla tromba e cornetta.

Mai avrei immaginato di ritrovare, tanti anni dopo, la registrazione dello stesso concerto ad opera di qualche altro appassionato...

⬇️

Anni dopo, a New York, passai una serata davvero speciale ascoltando al Sweet Basil James Moody,che aveva nel gruppo Eddie Blackwell!

Quanto a Don Cherry, organizzai per lui un concerto nel 1983. Il tempo trascorso a dialogare con Don lo impiegai a domandargli delle sue incisioni con Gato Barbieri e, ovviamente con Ornette Coleman. Mi rispose sempre dettagliatamente con il suo modo lento e languido, sempre però gentile e disponibile.

Ah, you can't beat the clock...

E.

Last Edit: Oct 6, 2024 9:16:32 GMT -5 by Entendance

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Oct 12, 2024 6:54:55 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Oct 12, 2024 6:54:55 GMT -5 Making A Way From No Way: A Life of Innovation Max Roach God Bless his soul. He will be missed, but what he gave us all is eternal. -Adam Nussbaum
	Last Edit: Oct 25, 2024 8:55:07 GMT -5 by Entendance

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Oct 14, 2024 10:39:03 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Oct 14, 2024 10:39:03 GMT -5 Dom Um Romao

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Oct 19, 2024 7:18:06 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Oct 19, 2024 7:18:06 GMT -5
	Last Edit: Oct 20, 2024 5:17:34 GMT -5 by Entendance

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Oct 21, 2024 8:06:52 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Oct 21, 2024 8:06:52 GMT -5

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Che notti! Dedicato a Pepito & Picchi Pignatelli Oct 26, 2024 6:08:57 GMT -5

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Post by Entendance on Oct 26, 2024 6:08:57 GMT -5

O filósofo russo Aleksandr Dugin apresenta a sua análise da bossa nova para, através dela, abrir uma via de entendimento sobre a Brasilidade e sobre o Logos que rege o Brasil (e, através dele, também a América Ibérica)

Bossa Nova: Estrada e Juízo Final

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Oct 28, 2024 11:42:35 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Oct 28, 2024 11:42:35 GMT -5

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Nov 4, 2024 4:57:30 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Nov 4, 2024 4:57:30 GMT -5 In Memoriam: Quincy Jones, 1933-2024 Quincy Jones, musical maestro and entertainment industry titan, dies at 91 Discography
	Last Edit: Nov 5, 2024 4:12:55 GMT -5 by Entendance

Entendance Administrator Posts: 15,749	Che notti! Dedicato a Pepito & Picchi Pignatelli Nov 5, 2024 5:49:16 GMT -5 Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Entendance on Nov 5, 2024 5:49:16 GMT -5
	Last Edit: Nov 5, 2024 6:35:32 GMT -5 by Entendance

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Che notti! Dedicato a Pepito & Picchi Pignatelli Nov 12, 2024 4:39:19 GMT -5

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Post by Entendance on Nov 12, 2024 4:39:19 GMT -5

November 5, 1964

Presidential Candidate John Birks Gillespie Views Affairs of State with Jaundiced — and Jolly — Eye

As the hustle on the hustings continues up to election day, with Democrat and Republican decrying one another’s policies and impugning one another’s honor and worse, John Birks (Dizzy) Gillespie plows his own political way in his race for the Presidency of the United States.
The 47-year-old trumpeter from Cheraw, North Carolina, is pursuing his political campaign, offering several solid planks: intelligence and humor about the whole business of running for office, sincere dedication to the principles of Negro rights and the fight to win them fully and lots of the best jazz there is.
Following are excerpts from a recent press conference held in Los Angeles:

Q: In your campaign, do you have any specific criticisms of the platforms of the two major parties? If so, what are they?
A: First things come first. First, civil rights. I think that some of the major civil rights groups are on the wrong track. The real issue of civil rights is not the idea of discrimination in itself but the system that led to the discrimination, such as the schools — the teaching in the schools. They don’t teach the kids about the dignity of all men everywhere. They say that there should be education. Okay. I say education, yes; but the white people are the ones who should be educated into how to treat every man. And the system of discrimination started during slavery time — with the slaves — it’s an economic thing. Of course, we don’t have that slave system at the moment, but we do have something in its place, such as discrimination against people economically.
Economics is the key to the whole thing. For example, if all of my followers said that we weren’t going to buy one single product for three days, think of what would happen to the stock on that one product on the stock market in one day. If it would drop drastically — boom! They would hurry up to protect the investors; they would hurry up to rectify a gross injustice.

Q: How many people do you think would be involved in this, in terms of purchasing power — 20 million … 30 million?
A: There are millions and millions of right-thinking people in this country.

Q: Not just Negro people?
A: Not just Negro people. No, no.

Q: Then you’d probably get 60 million to go along with you?
A: I’d like to see that ... 60 million people wouldn’t buy a product for three days. … There would be bedlam on the stock market. And they would hurry up and do something about this ... thing [discrimination].
The other thing is about the income tax situation. There are certain elements in our society that have better breaks on the income tax situation than others. I say we should make “numbers” legal. A national lottery for the whole country. And everybody — little grocery stores, gasoline stations — would sell books of tickets. All that money would go to the government. Do you realize that millions and millions of dollars a day are taken in “numbers” [which is illegal]. Everybody is a gambler. When you come here on earth, you gamble whether you want to live to see tomorrow. So they should channel those virtues in the right direction.

Q: What about accusations that “numbers” bleed the poor and that only the rich people can back the “numbers”?
A: That’s who’s [the rich] getting all the loot, that’s who’s getting all the money now. But the government would get that money.

Q: Wouldn’t you lose a lot of supporters from the church and from churchgoing people?
A: I notice in some of the churches, they have bingo nights. People go to bingo night better than they would come to see me in a club where they have whisky. Of course, you would have to get the clergy behind you. And then if you hit the “numbers,” if you hit for a dollar, you get $600.

Q: We’ve been hearing so much for the last six months or so about the so-called white backlash. Do you have any comment on that?
A: Yes. In the first place, the people who are affected by the white backlash, we haven’t had them anyway. See? If we are going to judge how to treat a human being by a bunch of hoodlums’ riots in certain places, well, we don’t need them anyway. I have that much confidence in the integrity of the American people that we have enough people to really do something about the situation. So the ones who are affected by the backlash — shame on ’em. We never had ’em anyway.

Q: In the interim period — while the school system is being settled and minority groups are getting equal opportunities — what do you suggest to raise the economic level of Negroes and other minority groups until they have the opportunity to have the same education and, therefore, get the same types of jobs as whites?
A: I would suggest that when an applicant for any employment ... when an applicant comes in to take his ... to decide on his qualifications for a job, it should be behind a screen. This system of discrimination against us is so strong that the moment a black face walks in, we know that we’re going to have to do a little more than the white person to get the job. But when an applicant comes in, and he’s behind a screen, his aptitudes for a job are on paper and you ask him questions or something, and you won’t know what you’ve hired until he has either flunked it or made it.

Q: Could we have your comments on the two candidates of the major parties and their programs? First, Sen. Barry Goldwater.
A: I think his program stinks. I think the senator’s program is ultraconservative. I think that Sen. Goldwater wants to take us back to the horse-and-buggy days when we are in the space age. And we are looking forward, not backward. President Johnson? He’s done a magnificent job.

Q: In what area?
A: In the area of civil rights — for what he has done and with the backing he has. But I’m sure that if I don’t get to be President — which I hope I shall — then I think that President Johnson would make a much, much, much better President than Mr. Goldwater.

Q: We’re in an era in which we are told only a millionaire can be President. Are you a millionaire? [Laughter]
A: Not by any stretch of your imagination. I remember some years ago when I was in Paris, I saw a headline on one of the tabloids — the New York Mirror — which is presently defunct, and it said in the headline: BEBOP MILLIONAIRE IN TROUBLE. There are certain spheres of our media of communication, there are certain newspapers that I don’t believe anything I read in them. This one was preposterous because at that time I didn’t know one bebop musician who had two quarters to rub up against one another.

Q: Seriously, how important do you consider a lot of money is in political campaigning?
A: I understand Gov. Rockefeller … there will be a moment of silence when I mention that name. I understand that he spent in the primaries alone almost $2 million or something like that.
But I look at it this way: Suppose I were a millionaire. That’s a very far-fetched idea. And suppose there was a guy in trouble someplace, and I say, “Here’s $10,000” — with the television camera on me, and the radio — $10,000 clear. [Then] if I were a poor man, say, making $75 a week, and I see a guy who’s ragged and doesn’t have any shoes on and his clothes are in tatters, and I walk up to him and I say, “Come here.” And I go to a secondhand store and buy him $6.79 worth of clothes. My idea of that is, I’ve done more by giving this guy this little gift. I call it having a respect for, and having a big heart for, the little guy.

Q: What do you think of Hubert Humphrey?
A: When we toured for the State Department the first time, in 1956, we were invited to play for the White House correspondents’ ball. I had the good fortune to meet Sen. Humphrey. I walked up to Sen. Humphrey without an introduction. I said, “Do you know one thing? I don’t particularly care for politicians.” He looked at me. I said, “But you are my favorite politician.” He came right back and said, “If you ever come to Minneapolis, I want you to look me up.” So maybe I might get some backing from Sen. Humphrey.

Q: What about the residue from the New Frontier, the men who surrounded President Kennedy and are still in Washington?
A: I can’t say that I blame President Johnson about that because when he repudiated all the men that surrounded the late President Kennedy. … You see, President Johnson has a problem. We loved the late President Kennedy, as did most Americans; we were madly in love with him. My wife cried for weeks and weeks and weeks after his death. But you see Johnson had to do that because in history he wants to be judged by what he did, not for what President Kennedy started. He wants to identify himself with his ideas about social problems that have to be faced. He wants to live and die with his philosophy. I’ll go along with that.

Q: If you were to pick a vice-presidential running mate, who would it be? Or have you done so already?
A: I was thinking of asking Phyllis Diller. She seems to have that sua-a-a-a-ve manner; she looks far into the future. She’s looking into the future. So I’m a future man, I said to her.

Q: Have you approached her?
A: I sent one of my emissaries. I sent one of my emissaries to sound her on that. I understand that she is for it. She was going to vote for me, anyway, so she’d just as well get in there and work.

Q: What about your cabinet? Who would you select for cabinet officers?
A: In the first place, I want to eliminate secretaries.

Q: Why?
A: In French that would be feminine gender, and we don’t want anyone effeminate in our form of government. I’m going to make all ministers.
Minister of foreign affairs: Duke Ellington.
Minister of peace: Charlie Mingus. Anybody have any objections to that? I think it would get through the Senate. Right through.
Minister of agriculture: Louis Armstrong.

Q: Why?
A: Well, you know he’s from New Orleans; he knows all about growing things.
Ministress of labor: Peggy Lee. She’s very nice to her musicians, so … labor-management harmony. It’s harmony between labor and management.
Minister of justice: Malcolm X. Who would be more adept at meting out justice to people who flouted it than Malcolm? Can you give me another name? Whenever I mention this name, people say, “Hawo-O-O-O.” But I am sure that if we were to channel his genius — he’s a genius — in the right direction, such as minister of justice, we would have some peaceful times here. Understand?
Ministress of finance: Jeannie Gleason. Ralph Gleason’s wife. When she can put the salary of a newspaperman — you know it’s not too great, you have to pinch here and there — when she can keep that money together, she’s a genius. So I’m sure that she would be able to run our fiscal policy.
My executive assistant would be Ramona Swettschurt Crowell, the one who makes my sweatshirts.
Minister of defense: Max Roach. Head of the CIA: Miles Davis.

Q: Why?
A: O-o-oh, honey, you know his schtick. He’s ready for that position. He’d know just what to do in that position.
All my ambassadors: Jazz musicians. The cream.
Gov. George C. Wallace: Chief information officer in The Congo … under Tshombe.
We would resume relations with Communist Cuba.

Q: Why?
A: Well, I’ve been reading the newspapermen who were invited to Cuba to look at the revolution there. … It seems Premier Castro wants to talk about reparations. But he wants to talk about it on a diplomatic level, which means respect. I am a man to respect, to respect a country, Cuba, regardless of their political affiliations; they are there, and there’s no doubt about it.
And I was reading in the articles that they’ll be there a while. So I would recognize that we send an ambassador, in an exchange of ambassadors, to Cuba to see if we can work out this problem of indemnity for the factories and things that they have expropriated. I think that any government has that privilege of nationalizing their wealth. It’s theirs; it’s just theirs. So if they want to pay for it. ... Of course, we built it up, we were out there; it wasn’t our country in the first place. But since they built it up and Mr. Castro wants to pay you for it, I think we should accept the money with grace.

Q: What about Communist China?
A: I think we should recognize them.

Q: Why?
A: Can you imagine us thinking that 700 million people are no people? How much percent is that of the world’s population? I think we should recognize them. Besides, we need that business. We’re about to run out of markets, you know. All of a sudden you wake up and there’s 700 million more people to sell something to. And jazz festivals. Can you imagine: We could go to China with a jazz festival and spend 10 years there at jazz festivals. We’d forget all about you over here. We’d send back records.

Q: We’re very deeply involved in Viet Nam; what would be your policy on this situation?
A: We’re not deeply involved enough in Viet Nam. I think we should either recognize the fight or take a chance on World War — is it three? There’s been so many. Either do it, or get out of there. Because every day American soldiers are walking around and — boom! — out, finished, kaput. They’re being killed, and they don’t even know hardly that they’re even at war. We haven’t declared war. So I think we should really either straighten it out — and we have the means to do that — or get out of there. I think we should do it or don’t do it. But if I were President, I’d get out of there. I’d say, “Look, y’all got it, baby. Yeah, good luck.” I’d get American soldiers out of there.

Q: As one of our most prominent musicians, you are aware that automation has played the devil with musicians’ livelihoods. What would your policy be on automation?
A: Automation will never replace the musician himself. We would have to set up some kind of a thing to protect the musician from that. There’s a bill in Congress now — oh, it’s been up for a long time; I get letters from ASCAP and my Society for the Protection of Songwriters; writing letters to senators to get them to vote for this bill — to make them give us part of that money that’s going into jukeboxes. As soon as the jukebox operators find out that you have to pay some money out there, a nice little taste of money, they’ll start hiring live musicians again, I think. Instead of having the jukeboxes there, they’d hire some musicians.

Q: What do you think the role of the musicians’ union should be in this regard?
A: Aw, the musicians’ union! Why did you bring that up? Is this for publication? It is? Ah, the role of the musicians’ union — it has been very lax in this space age. They have wallowed in the age of the horse-and-buggy and the cotton gin. I don’t think they’re doing a very good job.
All they’re doing is taking the money.

Q: In a recent interview, Duke Ellington said that from his personal standpoint he didn’t agree with subsidies for his music. What should your attitude as President be toward federal subsidies for the arts, particularly music?
A: We need subsidies for the arts. I’m a firm believer in that. Since jazz is our prime art, that should be the first thing we should subsidize.

Q: How would you go about that?
A: I’d have to work it out with someone who is familiar with it.

Q: How about a civil-service night club?
A: Now, that’s a good idea. A civil service night club. That’d be nice. I’ve been speaking to Max Roach about an organization composed of jazz musicians to perpetuate our own music. This year at Newport we had a jazz festival. Also they had a folk festival, which was marvelous. I mean, it just got down at the bottom of everything.
Y’see, jazz musicians — they’re so busy being jealous of one another that they can’t get together, so they need some rallying point. Max told me, “You’re the only one that could do it. You should call a summit meeting and have all the guys. Send them a letter; say, ‘Be there!’ And they would be there.” So we were speaking about this. So we’re probably going to get together. ...
But musicians should be on the production end of jazz. Like Shelly Manne is here in Hollywood. He’s a musician who’s on the production end of it, and I’m sure that the atmosphere in his club is different from any club in the country because he thinks like a musician. Just think of an organization of musicians who would dictate the policies of clubs where you play: “Say, look, you’ve got to have a piano that’s in tune — that’s 440 — and lights and maybe little stairs going here and going there.”
Musicians got some ideas. I imagine if you’d turn them loose on ideas of what kind of people they should have in the clubs and how best they could present that music to people, then all of us would benefit by it because all of us would be doing it.
So the musician, with his fantastic ideas about music, if you could channel them into the production end of music, how best we could serve the public — which we are in it to do — I imagine there would be a big rejuvenation of jazz. We could put on four mammoth concerts in one year — one in New York, one in L.A., one in Chicago and one in the Midwest.
They would be in the biggest ball parks, and we’d have people who love jazz, such as Frank Sinatra, Nat Cole (a jazz musician himself), Marlon Brando, Phyllis Diller, Harry Belafonte, all of those people have been helped by jazz. All of them have been helped by it, and I’m sure they would go all out to put a little thing into it. So they would help us with these things.
And we would get an administrator to run it — and pay him, pay him to run it. And let it be run on a businesslike basis, like U.S. Steel is run. We’d have an executive board, a chairman of the board, directors, president and all that jive.

Q: On a personal level, what is your own opinion of Cassius Clay, or Mohammed Ali, as he is now known?
A: My personal opinion of him? I don’t know him that well to pass a personal opinion of him. I would have to know a person very well before I would pass an opinion. … I’m a firm believer in: If you can’t say something good about somebody, don’t say anything at all.

Q: If your opponents in the presidential race start any mud-slinging ... ?
A: Oh, that’s different. A political campaign is something altogether different. And then, afterward, you kiss and make up.

Q: Goldwater, too?
A: I don’t think we would be on too good terms, not on kissing terms, anyway.

Dizzy Gillespie: The Candidate Meets the Press

Dizzy Gillespie for president: When politics was a groovier thing

The Beach & Dizzie Gillespie

Last Edit: Nov 12, 2024 4:51:21 GMT -5 by Entendance

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Che notti! Dedicato a Pepito & Picchi Pignatelli Nov 14, 2024 4:41:32 GMT -5

Quote

Post by Entendance on Nov 14, 2024 4:41:32 GMT -5

'Powerhouse jazz drummer and bandleader Roy Haynes died Tuesday in Nassau County, New York. He was 99. One of the few remaining figures from jazz’s bebop revolution, Haynes long résumé included bandstand associations from the late 1940s and early 1950s with legendary artists like Lester Young, Bud Powell, Thelonious Monk, Miles Davis and Sarah Vaughan.
Haynes was the recipient of many awards and honors throughout his career, including a Grammy Lifetime Achievement Award, France’s Chevalier de l’Ordre des Arts et des Letttres, the Danish Jazzpar Award, numerous DownBeat awards and induction into the magazine’s Hall of Fame in 2004, plus apropos recognition in 1960 from Esquire as one of the Best Dressed Men in America...'

In Memoriam: Roy Haynes, 1925-2024

Jazz legend performed alongside fellow greats like Miles Davis, John Coltrane, Sonny Rollins, Eric Dolphy, and countless more over career that spanned nearly 80 years...

Roy Haynes, Pioneering and Prolific Jazz Drummer, Dead at 99

The Beach & Roy Haynes

In Memoriam: Lou Donaldson, 1926-2024

The great alto saxophonist, NEA Jazz Master, and Blue Note legend Lou Donaldson passed away on November 9 at 98 years old his family has announced. Born in Badin, North Carolina on November 1, 1926, Donaldson’s early style was deeply influenced by Charlie Parker, though he soon developed his own distinctive soulful and bluesy sound on the alto saxophone...

Lou Donaldson