George Colligan

[xricci]

http://www.allaboutjazz.com/vbulletin/cuw/gcolligan2003.jpg

George Colligan has been on the New York scene since moving to Brooklyn in 1995. .In addition to his work as a bandleader, George plays regularly with the bands of Buster Williams, Don Byron, Lonnie Plaxico, Robin Eubanks, and David Gilmore. He has toured, recorded ,and/or performed as a sideman with Cassandra Wilson, Gary Bartz, Gary Thomas, Steve Coleman, Eddie Henderson, Ralph Peterson, Vanessa Rubin, Steve Wilson, Jane Monheit, Ravi Coltrane, Lenny White, Michael Brecker, Mike Clark, Nicholas Payton, Shiela Jordan, Janis Siegel, Christian McBride, Billy Hart, Charles Fambrough, Mingus Big Band, Rodney Holmes, Mark Turner, David Binney, Don Braden, Shunzo Ono, Lee Konitz and Stefon Harris, among others .

George recently released Mad Science (Sunny Sky). This new recording features a trio in which George plays exclusively Hammond B-3 organ. The CD release occurred in November 2003 as part of the new Late Night Groove Series at the Blue Note in New York City. George Colligan and Mad Science have also performed in Washington, D.C., Philadelphia, and Chicago.

George recently appeared on the Marian McPartland Piano Jazz program. The show will be aired in the Spring of 2004.

George Colligan is a winner of a 2003 Chamber Music America Grant for New Jazz Works. Only 11 entrants were awarded these prestigious grants. The substantial funding will be used for at least two concert presentations of a suite of compositions entitled Post 9/11.The suite was written for the George Colligan Quartet, which features Gary Thomas, Drew Gress and Ralph Peterson. This group also received an Arts International Grant, which enabled them to do a tour of the U.K. and Ireland in the spring of 2003. The Quartet appears on Ultimatum (Criss Cross) which was released in the spring of 2002.

In 2001, George began working with clarinetist Don Byron. The itinerary with Mr. Byron has so far included a Stravinsky concert in Vienna, several duo concerts, a soundtrack recording for Strange Fruit(a PBS documentary), a Six Musicians tour of the U.S., and a quintet tour with concerts in Portugal, Turkey, Italy, Germany, Austria, Switzerland, and Macedonia. George has performed with Mr. Byron in his Jungle Music project, which features early works of Ellington, and Bug Music, which features music of Raymond Scott. As part of Byron’s Symphony Space Ensemble, George played keyboards and samples on a concert celebrating Sugar Hill, the record label of rap music in the early 80’s.

Also worth noting is George's work with the Lonnie Plaxico Group, where George also plays Hammond B-3 organ and synthesizers. The group has toured Europe, Japan, and the U.S. George appears on Plaxico’s new CD for the Sirocco label, as well as a CD on the Blue Note label and a live CD.

Other highlights of George's activities includes his tenure with Grammy winning vocalist Cassandra Wilson from 1999 to 2001. Not only did George tour with her in Japan, North America, and almost every country in Western Europe, but he appears with Cassandra in The Score, a movie which features Robert DeNiro and Edward Norton.

George Colligan also won the 2001 jazzconnect.com competition. The winner was decided by over 18,000 voters deciding between 3 finalists. The prize included a gig at Blues Alley in Washington D.C. Also included in the prize was a recording of the gig: Live At Blues Alley is now available on CD.

Included in the 60 or so recordings that George appears on are 11 that he has released as a leader for the Steeplechase and Fresh Sound labels. The most recent Steeplechase recording is A Wish, a duo session with Danish bass player Jesper Bodilsen. Como la Vida Puede Ser was recently released on the Fresh Sound Label and features Flamenco and Latin influenced original compositions.

George was born in Summit, New Jersey, and grew up in Columbia, Maryland, a suburban town between Baltimore and Washington, D.C. His first instrument was the trumpet, although he did take piano lessons for a brief period at age seven. George became more serious about the trumpet in Grade 6 when his teacher, Lee Stevens, inspired him to listen intelligently to many different styles of music, particularly jazz and 20th century classical music. It was clear that George was to pursue music as a career, although less clear was in what capacity. In 1987, George enrolled at Peabody Conservatory of Music in Baltimore as a trumpet and Music Education major. However, during his time at Peabody, his interest in the piano and jazz became stronger and he started gigging in hotels and clubs in town.

In 1990, George participated in a one month summer jazz workshop at the Banff Center in Alberta, Canada. The faculty there included Steve Coleman, Robin and Kevin Eubanks, Stanley Cowell, Kenny Wheeler, Rufus Reid, and Marvin "Smitty" Smith.

Upon graduation from Peabody in 1991, George promptly quit the trumpet to focus exclusively on the piano. He was freelancing more in the Baltimore/Washington D.C. area, playing with many different bands at night while practicing hard during the day, developing his chops, learning tunes and transcribing solos of the piano masters. He also began composing more frequently. Additionally, George was the director of the Peabody Jazz Ensemble from 1991 to 1993. Upon moving to D.C. in 1993, he continued freelancing and also had a number of private piano students.

In 1994 George was a semifinalist in two piano competitions; in Indianapolis and Jacksonville respectively. Although George was extremely in demand in the Baltimore/Washington scene, he had aspirations of tackling the Big Apple, and when Gary Bartz invited him to join his band for a week at Sweet Basil's, George decided to make the move to New York.

[xricci]

http://www.allaboutjazz.com/release/gcolligan2003.jpg

Mad Science
Sunny Sky
2003

Website: http://www.georgecolligan.com

[xricci]

Have a question for George or a comment about his music? Please post it here.

[GA Russell]

Has George played any gigs with a member of the older generation? If so, who, and did he learn anything from the experience?

[gcollme]

Hi , this is George Colligan, and I am pleased to be a guest in this forum. In response to the first question - yes, I have played with musicians of an older generation and of course I have learned a great deal. By older, I mean older than me( I'm 33, will be 34 on Dec 29.) Most of the musicians I work with, even some of whom I call for my own projects, are older, although I just did a Criss Cross record and I used bassist Vicente Archer, a mere 25 years old. But obviously, older musicians tend to have more experience and know a lot of stuff that I don't. When I was in Cassandra Wilson's band, we did these soundchecks where she and bassist Lonnie Plaxico would jam on old Motown and R+B tunes, most of which I didn't know, and if I had at least heard them before, had never played. They never once repeated a song for the entire nine-week tour.

Also, I have been working with Don Byron for the past 2 years, and this guy really knows a lot of music! I have been part of his Symphony Space Orchestra, and so far, we have featured the music of Stravinsky, Raymond Scott, Earth Wind and Fire, The Sugar Hill Gang, and even Herb Alpert! Not to say that repertoire is the only thing I've learned, but that's one important example of what I've gotten from older musicians. I worked with Gary Bartz for a few years, and that was a great education, but I had also seen him play a lot in Baltimore, so i already had a knowledge of his repertoire. I am going to record next week with Buster Williams and Lenny White, two legendary musicians who are always teaching me new things musically.
:)

[Tenorman]

Hi George,
Just wondering if anything changes in your attitude towards a gig from the small "pubs and clubs" circuit to the big Cassandra Wilson type venue.
Friends of mine who are musicians, say they enjoy the pub type venues, where they know that there will be a small coterie of "listeners" and a majority only there for the beer. It allows them to experiment a bit and share a joke with the listeners, and be much more relaxed

[jazzbluescat]

Hello George. I'd like to say that I'm impressed, and a bit envious and jealous and feeling sorry for myself that you've had a beaucoup of experience playing with so many excellent players and I haven't.
[ :wink2: ]

So, lets get down to the important stuff. When you were a kid did you feel deprived of gifts and attention because your birthday fell so close to Christmas and New Years?

I couldn't think of anything serious at the moment, but, felt that I had to say something.

[KolumBUZZ]

Hi George. Shoutouts from Columbus all around. We enjoyed your playing with Lonnie and then Vanessa Rubin, a year ago...

- are you going to record with a Rhodes piano again in the near future?

[gcollme]

I haven't spent much time on message boards, so I'm pleasantly surprised to see that people are checking this out. Let's see.....I would like to record with Rhodes soon, in fact, I am doing my second installment of "Post 9-11" at Smoke in NYC on Dec 18th, and we are going to record. I will be playing Rhodes for the whole thing. It's the same group that was on my first Criss Cross CD-Gary Thomas, Drew Gress and Ralph Peterson. I don't have definite plans to release it but I'm hoping that down the road there will be some interest.

Yes, I did feel deprived occasionally having my birthday so close to Christmas, but my parents always got me something for both. The whole Christmas thing gets old the older you get anyway......I felt bad sometimes because my birthday was never during the school year, so I was never one of those people that other students would have a party at school. I was not a super popular kid , I've always been more introverted and shy. I think I've come out of it a bit as an adult, just because as a musician I always am meeting new people and I'm much less self concious now.

Also, you shouldn't be jealous of me! We all have dreams and aspirations. I've been lucky to have work in the music field, but I also work very hard and I have made many sacrifices. Many college grads my age have a big house and a car and kids and all that, job security, pension plan. This is a tough business. And there are still a lot of great musicians that I have yet to work with. I know what you mean, sometimes I look at other people and say" Man I wish I was in there shoes..." but they might have some hardships that you don't know about. I did a 4 day tour of the U.K. with my own band this past spring. It was my first real tour in which I brought a band from the U.S., and we had some major difficulties with tickets and overweight charges, very unpleasant.Also while I was there, I went online and came upon the itinerary of E.S.T., otherwise known as Esbjorn Svensen Trio.(Correct my spelling, anyone?)They had probably 50 gigs straight through. At first, I was envious. Then when I thought about how much difficulty I had to be responisble for during 4 days, imagine what could go wrong in 50! Maybe some won't agree with that perspective, but I'm just saying, be careful what you wish for.

[gcollme]

Tenorman, I didn't forget you! I think the biggest difference between clubs and concert venues is ---the money! Cassandra tried to move away from clubs because you just can't get the same fees. Airline tickets and hotels are getting more and more expensive, and unless you have grants, it makes it hard to make it work.

I love certain clubs, especially in Europe. I hate to say it, but most of the high level clubs in the states don't hold a candle to what would be considered a second tier club in Hamburg, Germany, etc.... I played in Moscow for the first time last month, and the club we played at was really nice. And consider that the poverty level in Russia is extemely high, that they would have a nice jazz club with international acts coming through all the time, well , it was a pleasant surprise! I don't think Baltimore has a club like this(Baltimore being the birthplace of Billie Holliday!).

I prefer a listening audience, regardless of the type of venue. I am used to experimenting all the time, and I don't think one should play it safer in a concert as opposed to a noisy club. I am amazed ,as a performer and listener at Detour on 13th st in NY, the level of music being made and the total indifference of the patrons. There are other places in NY like this, too. Sometimes I think New York is the worst place to play, due to the jaded audiences, low money, low respect for musicians, etc.... but there are exceptions. The Village Vanguard is still a great place to play and hear music.I saw Steve Coleman at the Jazz Gallery a few times and the audience was whisper quiet, the place was packed. I saw Carla Kilstadt at Tonic play SOLO VIOLIN , some original, avant garde-ish type of stuff, and you could hear a pin drop. Smoke is a great venue, Paul the owner really respects the musicians and cares about the sound. The clubs in New York that I don't like I guess I won't mention, but let's just say that there are some places that I feel like I'm "working",more than playing.
I would have to go on a case by case basis, but in general I would go for the concert hall. Or a really high level club, like the Blue Note in Tokyo, or Porgy and Bess in Vienna, Moods in Zurich, stuff like that.....

[xricci]

George, a while back I got a call from the White House. The first thing they asked me was how to pronounce your name. (weird, eh?)

Anyway, I’m assuming you played there and was wondering how the gig went? Did you get a chance to mingle?

[John L]

Hey, George! I'm glad to hear that you are recording with Buster Williams and Lenny White. That will be on my buy list. I had the fortune to catch your gig with them at the VV last year, and really enjoyed it. You played up a storm too! Thanks for sharing your time with us.

John

[gcollme]

Yes, I am excited to record with Buster Williams and Lenny White, jazz legends to be sure.Also, Stefon Harris will be on the date. We are recording at the famed Rudy Van Gelder studio in New Jersey. Buster has always been on eof my favorite bass players. I and my best friend David Ephross, a bassist, used to sit around and listen to Buster's album called Something More. It features Herbie Hancock, Wayne Shorter, Al Foster, and Shunzo Ono, who is a good friend of mine. Actually, Shunzo will be here in a few hours, we are going to discuss music for his new CD.

Lenny White is one of my early inspirations. His playing on the Return To Forever recordings, not to mention Red Clay and the Griffith Park stuff, is some of my favorite drumming. I am an amateur drummer myself, and I also compose with a certain drum attitude in mind, and I have been influnced greatly by Lenny's interpretations.

Ok, I played at the White House last summer with Vanessa Rubin. We played a state dinner for the President of Poland. (I guess Poland was part of the " Coaltition of the Willing" that endorsed the invasion of Iraq......)Why did I do it, you may wonder? Hey , a gig is a gig. Yes, I voted for Gore, like many of you out there. I didn't think that the Supreme Court decision to put him in office was fair. I don't like anything that the present administration has done. But a gig is a gig, I needed a gig, so hey....Plus I've worked with Vanessa Rubin alot over the years and she asked me to do it and it seemed like it would be important to her for me to be there, so .....At the time,, I went in with a much more open mind. I mean, I never played at the White House when I lived in D.C.! So I wanted to see what it was like. We played a 20 minute show in the East Wing. All the big wigs were there, right up close....Chaney, Rumsfeld, Condalezza, Powell, Clarence Thomas(he is clearly not a jazz fan, he was figeting and seemed bored by the whole thing.)Bush himself got up and thanked us by name, which might explain the call, xricci! Bush did it by memory , too. I will say this, and I guess this isn't the best forum to get political and start Bush Bashing and get this whole website shut down!, but this sums it up for me. Vanessa got to EAT AT THE STATE DINNER, AND THE BAND(ME,LONNIE PLAXICO,AND ALVIN ATKINSON) DID NOT. We were offered a dessert before the concert. Is this not a clear metaphor for the attitude of our present government. Some are welcome at the table, others can go to Burger King across form the Hay Adams hotel(which I did, and liked it, thank you very much.)

I think our attitudes closer to the aftermath of 9/11 were much different from even a year later. So, I think if someone asked me to play at the White House now, even if it was Trane reincarnated, I would decline, because the more I read about what the government is doing, the more infuriated and sickened I am.

.......Unless it paid really good, and if they guaranteed a meal! Heh heh......:laugh:

[jazzbluescat]

George, the first thing you ask is "do we git ta eat?" Put it in th' contract.:D I gig occasionally with a tightass's nine piece ballroom dancer's group that won't even let us partake in the hors d'oeuvres unless we're invited. Then, I did a while with a top 40s group that descended on the hors d'oeuvre like a cloud of locusts.
Depends on the size of the group and the formality of the gig, I reckon.
The only time I got fed a bonifide meal was with a period civil war band...a steak dinner, to boot.

I digress...it's your show.:)

You get the good gigs, I clean up.....grumble, grumble:wink2:

Hey! I tried to post an image; what happened...the image turned off? bummer

[John L]

George:

That is a classic story if I ever heard one! You guys worked your asses for the White House top brass while they wined and dined in extravagant luxury. Then they gave the caviar kitchen scraps to the "royal dogs" and sent you brothers off to Burger King!

Well, look at the bright side. I am sure that the company was much better at Burger King. And despite the risks of fast food these days, there is a much greater probability of getting SCUM in your food in the White House.

John

[gcollme]

Amen, John L! You get the idea..... And I used to do weddings and stuff where the band was treated like dirt. I remember once, maybe 12 years ago,I did a wedding with a big band. On the break, I went up to the buffet, a sumptuous spread of steak and shrimp and so forth. I literally had a bite of steak heading towards my mouth, when the host came up behind me. " Oh, I have some snacks for the band!" Arrrgh! Talk about eatus interupptus!

[relyles]

George,

You do not know it, but you were a participant in one of the most memorable concerts that I have ever witnessed. Summer of 1995 at the JVC Jazz Festival. Free concert at Bryant Park featuring Atlantic artists. You were playing with Gary Bartz in a group that also included Eddie Henderson, I think Greg Bandy and a bassist whose name I can't remember. That was a particularly important summer for me because that was the summer that I was studying for the Connecticut Bar Exam. Not a fun summer to say the least. A couple of weeks before the test I decided to play hooky from studying for a day and catch the free music. I had heard one or two Bartz recordings, but had not paid much attention. This was also the first time I had even heard your name. Anyway, you guys came on and played straight with no breaks for about an hour and simply blew the crowd, myself included away. I remember James Carter's group had the misfortune of following you guys on stage and it was anticlimactic to say the least. Anyway, that was the day that I was converted into the Gary Bartz fiend that I am today and I was also quite impressed with your playing. Since then I have picked up a couple of your recordings including the Criss Cross date and a date on Fresh Sounds with Mark Turner, as well as a bunch of stuff that you were a sideman on. I have never been disappointed and I must say the Criss Cross date with Gary Thomas is incredible.

I did not know you had a new recording out - also interesting to see its an all organ date. I love the organ tracks on the Fresh Sound recording with Mark Turner and I also enjoyed a lot the stuff you did with Gary Thomas' group on organ. I am going to have to pick up your new recording - I am also a big Gary Thomas fan.

Your sound on the organ does not appear to be as influenced by the Jimmy Smith style of playing as most organists are. Are there any other organ players whose approach you would cite as an influence? I hear a little bit of Larry Young's modal approach, but I don't want to be presumptuous.

Anyway, welcome to the board and thanks for the memory.

[Saundra Hummer]

Hello George,
Enjoyed hearing which type of gig it is that you enjoy playing, and how you have to be driven by what they pay.

I used to go to the Lighthouse as a teenager, and I was always amazed that for the most part there was never a cover charge, and that was when Charlie Parker, John Coltrane, Miles Davis, and so many of the jazz greats that I can't list all of them were playing there. I really didn't know how they could survive, much less look so darned good in their nice suits and sports jackets.

We had some great music to listen to, free so to speak. The glasses were smaller, and they cost more, but I was too young to drink, so it was just a coke for me. I mean we had the greatest, to see and listen to, and then you would not only get to see a group that you had always heard about, but no telling who would drop in to play with them, the sit ins were the guys who were already legends in their own time.

The atmosphere was great, a small intimate club with small benches that would seat two or so, and a tiny table, no dance floor, like you mentioned, a listening club. I think it was fantastic, and the muxic that came out of there was just great, as the fellows seemed to enjoy themselve there so much. No strain, a great owner, and a hands off manager, just the nicest of people to deal with. Howard Rumsey and the Lighthouse All Stars were liked by everyone. Some great people, and some great musicians. Hope you get to experience that type of club, as it seemed to be inspiring to a lot of people.

I have read that President Bush never has liked to spend his own money, and used to sponge off of almost everyone in Texas when he first arrived on the scene, and even longer. I have also heard that certain dinners are not paid for by the Government, that the President has to foot the bill himself for certain functions. Perhaps this was one of those times. In any case, how rank! No other word for it, just rank! I can't even imagine this happening. It is not as if you were a huge marching band from a university!

Isolated here in Central Oregon, not much in the way of jazz to listen to here, and my sound card is out, so I am really in a jazz deprived desert here, but I still enjoy reading about you, and hearing your take on things. I kindof have to live in my jazz past, but it is a great one. !953 to 1972, or so. Hearing it all live for the most part.

My brother's birthday is December 23, and my father in laws was on December 25th. You absolutly get short shrift!!! Have a nice one.

Looking forward to hearing your music, and looking forward to picking up a cd in the future.

The very best to you!

[gcollme]

Thanks Sandi! Thanks for the kind words and glad you are enjoying the forum.And also relyes, I'm especially glad you liked the Criss Cross CD. I liked it too. Uh, oh, I feel a rant coming on.
First of all, It's nice to know what people around the country are thinking about the music. I am generally dissatisfied with the state of the jazz music industry. I think a lot of the artists who get a lot of press tend to be overrated. Not just compared to Miles, or Trane, or even Lynard Skynard, for that matter.

Compared to who is out here now! Call it sour grapes, but I'm not talking about myself. It's interesting, reyles, that you mention this concert with Gary Bartz. Here is somebody alive and well, playing better than ever, with a concept and the experience and history to back it up. He played with Blakey, Miles, he KNEW TRANE! basically he is a living legend. And I remember that concert in particular as being strong. Even Bill Stuart, one of my favorite drummers, was there and he told me he was blown away by the performance. Anyway, like you say, James Carter played after us and was clearly not on the same plane. Now I respect Mr. Carter for his technique, but musically he's not in the same ballpark as Gary Bartz. And I'm not just saying that because I was in his band, because I used to see him play alot in D.C. whatever. Why is it that Bartz was unceremoniously dropped from Alantic after only two albums, while Mr. Carter continued on and gets continuous attention from the jazz media. Again, I'm not saying Carter is not valid , I personally am not a fan of his music,( nobody likes everything.) I just wonder why someone like Bartz doesn't get his due. But when I hear positive feedback from people like yourself, It makes me feel good and it confirms that the music IS good and people can enjoy it. Every concert I've ever done with Bartz, we had a great crowd and people loved it. Why can't he get major label support?

Boy, this is going on longer than I thought. Oh, The Criss Cross CD. Speaking of labels. I'm glad you liked that one, too. Most of the comments I've gotten about Ultimatum were positive. But all Mr. Criss Cross told me was that it didn't sell. Not even a comment on the music, (I wonder if he even listened to it.)

Again It feels good to know that there are people out there who listen to what's really happening and aren't only influenced by hype.

I welcome any thoughts from readers of this forum on this subject.Feel free to disagree, even if you love James Carter.(Again, you can't please everybody....) Maybe it's old hat, because I know that a typical forum subject is who's underrated, who's overrated, so on. Anyway there's my two cents.

Got go go to a rehearsal, I'll check back later...:wink2:

[gcollme]

Sandi, wow I'm kind of jealous that you got to see Charlie Parker, Miles and Trane! Wow, that's amazing! I've only seen videos. If there are any netflix subscribers out there, there are a lot of concert DVDs available. I just watched one, it's from an Eductational thing from the 60's called Jazz Casual. It had 3 instalments, Basie, Dizzy , and Trane. Basie and Dizzy also talk a great deal with the host(I can't think of his name......he was a "jazz columnist").

There is a store in Tokyo that has TONS of bootleg jazz videos, Miles quintet, Return To Forever, Weather Report, all kinds of stuff you've never seen. I wish i could give you the address, but it's a little complicated.

Also, I saw the only footage of Wynton Kelly last year, a guy who runs a club in Germany had it, he said he's not even supposed to show it! It was cool to see Wynton's technique at the keyboard, he sat a little close , but his hands wery very relaxed, very efficient motions.......:)

[gcollme]

I am becoming addicted to this message board!

I have to run but Reyles, I will talk about the organ later this evening!

[KolumBUZZ]

the columnist was Ralph Gleason, and his series was called "Ralph Gleason's Jazz Casual." There are several other installments. I highly recommend the Cannonball Adderley.

George, re: the political....I think the board is a perfectly acceptable forum for an artist to air his views. I was at one of your gigs though where between numbers you made a point of taking a shot at Bush, how he was dumb I believe.....now I am the last person to defend Bush, but I just really don't like to hear politics, left or right, coming off the bandstand.

For me I go to a club with the mindset of ESCAPING all the bullshit in the outside world, or at least having music serve as meditative reflection (not LITERAL)....so in other words, I don't want to be reminded of the bullshit in so many words. I'd rather hear music that distilled what the musicians were feeling than musicians using the stage as a soapbox.

Again, I have no problem with artists expressing their opinion and I DO feel they can be quite articulate and thoughtful, I just prefer to hear their views aired in a conversation or an interview, not on the bandstand.

This is in no means just directed at you either. I have experienced this with several other artists, and without doubt no one will ever come close to the self-indulgent rants of Keith Jarrett. He's on a "whole 'nother level," both musically and in the depth of his self-absorption.

[Saundra Hummer]

Originally posted by gcollme
I am becoming addicted to this message board!

I have to run but Reyles, I will talk about the organ later this evening!

I think it is just great that you are finding the time to give us your perspective on your music, and your other views, political or whatever. We're all multidimensional, and this way we can see where you're coming from artistically, or we like to think we can see into someone a little better.

Addictive, it sure can be, as you can go back through the members posts and imagine how much time they must spend here. Becomes an interesting part of your life. Too emotional at times, but it is fun to see what interests and experiences other people have, and have had. Gives a lot of us a podium to express our own views about music, politics, books, movies, etc., and believe it or not, not all of us are crazy, ha!

I'm with you on George Bush, and think it is just a tragedy that the court did what it did. I feel that he may be the President, but he is not my President. I feel that the voting situation in Florida is a travesty, and I think you will find a lot of support for your views on this board. You have used the only forum you have to express your beliefs, while he has photo ops and any number of ways to bamboozle the American voters. which he sure has been employing ever since he took office. People have fallen for it, but lets hope that they don't continue to be taken in. Could go on, and on, but you know what I'm talking about.

We really do appreciate your visiting this site, and hope you'll continue to post and express your views, musically, politically, and personally, Seems you have a lot to say, and I think we all will enjoy your sticking around.

[Saundra Hummer]

Originally posted by xricci
George, a while back I got a call from the White House. The first thing they asked me was how to pronounce your name. (weird, eh?)

Anyway, I’m assuming you played there and was wondering how the gig went? Did you get a chance to mingle?

Mike! How did, or why did the White House, (SECRET SERVICE?] know to call you for the proper pronunciation of George's name? Do they subscribe to this site, monitor this, or did they contact you because of other venues you are involved in??? Really, how would they know to contact you? Would you know for sure?

[Kerry]

I guess I just wanted to write that you are one of the most naturally talented pianists out there. I know that you were originally a trumpet player and didn't seriously start playing the piano until college; could you talk a little bit about that?

[Saundra Hummer]

Originally posted by gcollme
Sandi, wow I'm kind of jealous that you got to see Charlie Parker, Miles and Trane! Wow, that's amazing! I've only seen videos. If there are any netflix subscribers out there, there are a lot of concert DVDs available. I just watched one, it's from an Eductational thing from the 60's called Jazz Casual. It had 3 instalments, Basie, Dizzy , and Trane. Basie and Dizzy also talk a great deal with the host(I can't think of his name......he was a "jazz columnist").

There is a store in Tokyo that has TONS of bootleg jazz videos, Miles quintet, Return To Forever, Weather Report, all kinds of stuff you've never seen. I wish i could give you the address, but it's a little complicated.

Also, I saw the only footage of Wynton Kelly last year, a guy who runs a club in Germany had it, he said he's not even supposed to show it! It was cool to see Wynton's technique at the keyboard, he sat a little close , but his hands wery very relaxed, very efficient motions.......:)

Hello again George!

I was extremely lucky to have lived within walking distance of the Lighthouse, and because I had a home teacher, and my lessons would be over around 10:30 or so, I would head for the Lighthouse when I could, if it was too cold to go swimming, and this is how I was able to see so many really terrific artists in the most intimate of settings. There would be the very best talking about their last gigs, where they were heading to next, who they really enjoyed playing with, or seeing, what they were going to be doing, and to watch them set up and go through their warm ups was just the best. Sometimes I would be the only one in the place, no other customers, not until after noon, and sometimes it would still not be filled up. Lots of other musicians would come in and just watch, or sit in with them also. The Lighthouse isn't a big place, kind of long and narrow, so anywhere you sat was up close and personal, or so it seemed, and I was able to set right at the bandstand which was only a little over a foot tall, so you were right there with them. You could lean over and touch the piano player if you chose to. Seeing Monk up so close was an amazing experience, and since he was such a magnetic person to see, being up so close was even more exciting than you could imagine.

Getting to meet, and to get to know some of them, like Charlie, Miles and John was great, there were others that I really did like and enjoy, Clark Terry, Bill Perkins, Frank Rosolino, Stan Levey, and Dizzy Gillespie. who I had a funny happening with, a really great experience all because of Frank and Stan. Just the best of times. I'll never forget it.

[gcollme]

Kolumbuzz, I remember that, and I think I was disappointed that the joke didn't get as much of a laugh as it did at the Cheltenham festival in England. And that's really all it was.A joke! For those of you reading who missed my gig at the Jazz Gallery this past May, I said something like" These guys up here are some of the greatest players in Jazz today. And they are older and more experienced than I am. I ask myself, How can I possibly lead them? Well, If George W Bush can lead the United States....." Something like that.In retrospect, I think you would have to admit that there is a difference between that and if I had maybe gone on stage and burned an American flag, or said " Screw Bush," or something. But , although I do have strong political views, I think you are perhaps a bit oversensitive. I can understand , though, wanting to have concerts or even this message board be free from Politics or the outside world or whatever. Sometimes I do , too. In this case, I think it was more of an attempt at topical humor,let's face it, I didn't have Howard Dean Campaign Buttons or what not.

I will attempt to keep the topics away from politics , at least from the outset. Sandi does make a good point though, and is alluding to the fact that artists get inspiration from what goes on in the world, be it political or mundane. and sometimes their art is how they express this. Take Mingus's music had a lot politics happening. I think in a sense, jazz and politics go hand and hand, since most of the inventors were black living in a white majority society. Coltrane, "Alabama"? So I'm definitely not the first to be political. And I'm not even saying that that I was, because again, it was more of a topical joke. To be honest, most of my music is not political at all.

If you know any of Don Byron's music, he is very much like Mingus with his tune subjects.

He has a tune called' The Importance of Being Sharpton"!(Who was just on Saturday Night Live, and I heard it was hilarious!Anybody tape it?)He has a tune called "Clarence/Anita", also "The Press Blamed Rodney King for the LA riots..." That's Don for you.

Okay, I said I'd try to keep out of the political realm, at least for a while...

In response to the question about the Hammond B3, I started playing B3 in 1994. I had maybe sat behind one once at the Sportsmen's Lounge in Baltimore, and I really had no idea what to do. Thank God there was a bass player! I only started learning(Actually, Tony Martucci , a drummer in D.C. had a B3 in his house, and he let me come over and practice on it, and we had some jam sessions. He showed me how to "Turn it on" and that is no hip euphemism, I mean literally turning the thing on is a little complicated. There is a Start Button and an ON button, and you have to get the timing right or you will not be playing the B3!)because Gary Thomas was looking for an organist for a tour of Europe. He kept bugging me, asking me if I played Organ. I insisted no, but he finally said that we wanted somebody who would play the organ sort of "Untraditionally" meaning "Not like Jimmy Smith." Not to dis Jimmy Smith, because he is truly an innovator on the B3. But if you have ever heard Gary Thomas' music, and it's defintely not for everyone, you'll see that Jimmy Smith style would not work at all. So that was my start. I also took a lesson with an organist named Bill Boublitz.

The good thing about the organ is it is the same mechanism basically as the piano. White and black keys, you push down your fingers and a sound comes out. It's not like the difference between Marimba and Basson! However, there are important differences. The organ has much less resistance, so you can't put all your body weight into the keys, because it's pointless, it won't affect the sound. That's what the Expression Pedal is for! Joey Defrancesco is a great pianist, but he started on the Organ, and he told me when he doesn't play piano for a long time, he feels a big difference.

There are so many adjustable parameters, the drawbars, the pedals, the percussion,the vibrato, the leslie fast or slow, it's a pretty complex sound. I love the fact that you can sustain a note, unlike the piano, for a much longer period. Because my early improvisational influences were horn players(I used to play trumpet) I can phrase much differently than on the piano. Also, I love playing bass lines. I'm not anywhere near as good as people like Joey or Larry Goldings, especailly not as good as Lonnie Smith, but I'm working on it. I played this past weeked with Mike Clark(the drummer on the Herbie Hancock album"Thrust") and that was a lot of fun. I usually don't conciously channel anyone when I play, but in this case, I attemted a left hand channeling of Paul Jackson, Jaco, Rocco from Tower of Power, and maybe even Verdeen White.(All funk bass players.) Anyway, more later, I have to try to go to the gym.

:wink2:

[Tenorman]

I was "dragged" along to a Joey De Francesco gig at Ronnie Scotts by a singer friend, about 2 years ago. The House Hammond started acting up. They had about 3 goes to sort it out and Joey was getting well miffed. When they got it going, he took all the frustration out on that organ. I don't even remember the tune but boy did it swing.

Bringing up the birthday again, being a bulletin board we are fairly hot on statistics: well some of us are - OK I am:rolleyes:

You share your birthday with:-

Irving Ashby
Cutty Cutshall
George Elrick (Scottish Drummer)
Danilo Perez
Snub Mosley

[gcollme]

I actually knew that Danilo had the same birthday, but the other musicians you list I'm afraid I don't know. Are they people I should know? The more I learn,the more ignorant I realize I am. There is a lot of music I have never heard, and I guess you can't learn it all, but it's actually fun to try. One philosophy is to find what you like and stick to that, but I think I am becoming greedy as far as knowlege of music is concerned. If I had unlimited money, I think I would buy about 100 CDs a week. I feel so dumb around people like Don Byron, Lonnie Plaxico, Cassandra Wilson, Lenny White, Steve Coleman(he is an incredibly scholarly musician!).
Anyway, tell me who these people are, if you don't mind......
Kerry, thanks for the compliment! I don't consider myself naturally talented at all. I enjoy music more than other things, so I work at it. I used to practice a lot more, about 10 years ago i practiced about 6 hours a day, I was completely consumed. Well, I guess i still am a little bit, but touring and day to day errands have made me lose focus a bit.
I actually had a month's worth of piano lessons in 2nd grade, and I had very little interest so I quit. Then in 4th grade I started trumpet, and I wasn't too interested in that either, until 6th grade(middle school) when I had this Band teacher named Lee Stevens. He was a really charismatic guy and was a really popular teacher and it seemed fun, so I continued with trumpet. I was in the Concert Band( The Wind Ensemble was the best students). We had to practice these scale excercises, and I wasn't really into practicing. Mr. Stevens came around to hear everyone play the excercise solo. I hadn't practiced, and it was pretty embarrassing. I was moved down to the last chair of the Concert band. I was so humiliated that I was determined to move up. I started practicing constantly. Before, my parents complained" We're wasting 10 dollars a month renting this trumpet! Could you at least practice a little?" Now they were begging me to stop!!
I eventually became first chair of the Wind Ensemble. I also started listening to a lot more music. I used to go to the Columbia Library and sign out records(LPs, my god!)and , yes, tape them, so sue me!
Unfortunately, I did a lot of practicing one summer with out much supervision, and I developed a lot of bad habits technically. Mr. Stevens was afraid to change my embouchure(the setting of the lips on the trumpet) because I was playing pretty well, and changing the embouchure usually means you have to start back from square 1. I waited until High school, and he did chamge my embouchure, and It was humiliating, because I was the best trumpeter in the school, and then I was moved to 3rd chair, because I had no range(couldn't play high notes due to improperly developed embouchure). Very discouraging.
To make a long story even longer, I ended up getting a degree from Peabody Conservatory on trumpet( and music ed) but I was always plagued with these technical problems. While in college, I gravitated more towards piano, as there pianos in all the practice rooms at peabody. It seemed so much more fun. I ended up sitting in at various gigs around Baltimore, and where, I had failed as a trumpeter, I was successful as a pianist.
I could go on and on about this. I feel lucky that I ended up with this career so far. I could have easily ended up as a trumpeter and
a band director in Marlyland. And I am MOST DEFINITELY not saying that is bad, because without my Music Teachers, like Lee Stevens,
Donald Cohen, Jack Schwalm, Wayne Cameron, and others who I can think of their names right now, I wouldn't be doing any of this. My sincere thanks to them( I doubt they spend any time on these message boards!). But at least for now, touring the world as a pianist and living in New York has been exciting and certainly there is a lot of variety.
I tried to pick the trumpet up again in 1998. I lasted about 2 years. It takes too much work, a lot of daily maintenance excercises and so forth, I just don't have the patience for it. I have so much to learn as a pianist, I leave the trumpeting to Alex Norris, Ralph Alessi, James Zollar, Ravi Best, Jeremy Pelt,Kenny Rampton,
Dave Ballou, Taylor Haskins, and a whole slew of others!
Ok, I'm taking a break for a Family Guy marathon! If you haven't seen this show, It's like The Simpsons on Acid! It's really out there, borderline offensive at times, but I like this type of humor.....
GC:laugh:

[KolumBUZZ]

"Something like that.In retrospect, I think you would have to admit that there is a difference between that and if I had maybe gone on stage and burned an American flag, or said " Screw Bush," or something. But , although I do have strong political views, I think you are perhaps a bit oversensitive."

Maybe you're right. The thing I haven't mentioned though is that the friend who I went with to that show is a Republican.....now that is a whole nother story, but he's a cool guy, he just hasn't shed his parents influence entirely. So anyway, even though it was a joke, it still made me feel awkward because I could tell he was offended. This isn't pointed at you per se, but I think people tend to assume that all people interested in jazz are progressives, Democrats....this is, for better or for worse, adamantly not so. I don't doubt that the Bush cabinet people you played for sat there stiff and bored, but I have met some Republicans/conservative type people who are sincerely into jazz, and can even move their body to the music too!

[KolumBUZZ]

as a musician i think that one would prefer to think that music is a unifying force anyway. even if people have divergent political beliefs, isn't something gained by everyone enjoying the same music?

[Clunky]

George I don't have anything particulary profound to ask other than to say that I have enjoyed your playing over the last 3 years or so.
I have seen you a number of times at Henry's Edinburgh in a variety of settings (usually trio). I was playing "Small Room" on Steeplechase only the other day. It's a vey fine disc. Hope we see you back at Henry's soon.

[xricci]

but I think people tend to assume that all people interested in jazz are progressives, Democrats....this is, for better or for worse, adamantly not so.

I have no intention of derailing this thread with more political commentary, but I do want to mention that I ran a mock election at AAJ back in 2000 and Gore beat Bush handily: 78% to 22%.

Now, back to George and his music... :)

[xricci]

George,

I really dig MAD SCIENCE and plan to designate it as a Publisher's Pick (on the AAJ home page) today.

I do have a question about Sunny Sky Records. Is that your record label? If so, how do you plan to handle distribution for the new CD?

[KolumBUZZ]

but I do want to mention that I ran a mock election at AAJ back in 2000 and Gore beat Bush handily: 78% to 22%.

- and this is the very same air of smugness i find unbecoming of people involved with jazz. The way the music is received should be about openness and dialogue, not congratulating ourselves for our superior sensibilities.

[Hardbop]

I remember the first time I heard you in Gary Bartz' band when he had a gig at the then Sweet Basil. I almost fell off the bar stool you played so well. After that night, I became a big GC fan. I've seen you as a leader in your own right at both Small's (if my increasingly faulty memory serves me correctly your father was in attendance that night) and at Smoke where you had a trio with Johannes Wiedenmueller & Ari Hoenig.

Well, welcome to cyberspace and I wonder if you can answer some questions I've always wondered about.

For example, you worked with Gary Bartz for a number of years and then stopped working with him. How does a musician choose his sideman/stop using sidemen? What are the circumstances when a musician leaves a band? I'm not asking specifically about you vis-a-vis Gary Bartz but in general when a musician breaks up a band or changes musicians or a sideman leaves to take another gig. Is that transition smooth? Does it lead to bruised/bad feelings?

The same goes with recording. You must be friends w/ other musicians/have musical associations so how do you (or in general how does a musician) go about selecting who you gig with and who you use on your recordings? Do musicians who don't get selected feel bad?

It just seems to be an area that is awkward and fraught with situations that could lead to a lot of bad feelings/jealousy and I wonder how musicians handle that.

[jazzypaul]

Here's one for you...what do you specifically look for in a drummer when you're either hiring one for a gig or playing with one in another's ensemble? As a drummer myself, it's always interesting to know what cats want to hear...

quickly adding my $0.02 to the political sub-discussion here...
- and this is the very same air of smugness i find unbecoming of people involved with jazz. The way the music is received should be about openness and dialogue, not congratulating ourselves for our superior sensibilities.
that election and the past 3 years have absolutely nothing to do with politics and everything to do with intelligence. Bush is a very dumb guy who happens to be a world-class delegator. But who he delegates power to only goes to show how dumb he is. There are smart republicans out there. However, none of them voted for Bush...:p

[gcollme]

Hope I can at least get a few words in. We are moving out of Brooklyn this weekend so there is a lot going on. My girlfriend and I are moving to Forest Hills , Queens. I bought a large one bedroom co-op. Large for New York, that is.(900 square feet). It's funny because Eddie Palmieri happens to live in the building. When I went to be approved by the board, they asked me if he was famous. Interesting, huh?
It's a lot different from Brooklyn, but I think every neighborhood has it's advantages and disadvantages.
Now to get to some of the questions. Sunny Sky is not actually my label. It is the label of Sunna Gunnlags and Scott McLemore, two friends of mine. Sunna is an excellent pianist and Scott is a fine drummer. I have been using Scott on some gigs around town, and we have been having a lot of fun, The bassist has been Vicente Archer, who I think I mentioned before is on my upcoming Criss Cross release( Bill Stuart is on that one.)
Scott and Sunna started their own label for their own projects, but I mentioned that I had a CD that no label seemed interested in( At least the ones I approached), and Scott suggested that I do it on their label. Unfortunately, they are not like an established label in that they have 0 money. They are just normal people. So I have paid for everything myself. And I get all the profit as well. What does Sunny Sky get out of it? It grows their catalogue, making the label more desirable for distributors. Scott did the graphic design and helped me with the duplication and other logistics like that. He also maintains my website(www.georgecolligan.com) and such. Sunna is helping me with industry contacts and other stuff. She turned me on to Groov Marketing, who is doing the radio promo. I think Mad Science is 23 on the CMJ chart, and I think it's on the Jazz Week chart as well. Where's Casey Kasem when you need him?
Distribution is thru North Country and CD baby. I've sold 5 through CD Baby already!

There was a question about sidemen. Ahh, the life of a jazz sideman. I was reading liner notes about how Woody Shaw decided to become a bandleader as opposed to " being a sideman on the New York scene, which is usually a dead end road." I forget the album and the writer, but COULD YOU BE ANY MORE NEGATIVE? Jesus! And yet, I am beginning to see his point.
Being a musician , leader or sideman, is not like working at a lawfirm or a company. There are rarely benefits, no 401 K, very little job security, you can't sue because you suspect racial or sexual bias( well I guess you could, but it would most likely be a waste of time.). It's a very unpredictable life. I am lucky to get calls by many different musicians on a regular basis. However, I honestly would prefer to be in one band . Unfortunately, none of the people I work with have enough gigs to be completely loyal. So It's good that I can do other gigs and fill in the blank spaces. But sometimes there are conflicts, and I have to make a choice. Then there are times when I accept a gig only to find out it is cancelled at the last minute, or that the original guy who was called can now make the gig, or what have you. I've had at least 3 major things on my calendar AND my website this year, only to find out that they are using somebody else. I'm trying to show that there is sadly very little loyalty in this business.
I know of a particular drummer, a great drummer, who worked with a particular artist for 10 years on the road. He ended his run without ever recording with said artist. I think that shows little loyalty. Now, sometimes, ( and in the former instance it was probably the case)recording companies insist on all star bands because they think the album will sell better( not always true)and sometimes there is not much you can do. Sometimes it is purely a musical decision. I personally have difficulty deciding who to use on various projects, because there is a huge glut of great players in NY. I'm sure I've dissappointed many musicians that I've worked with because I haven't called them for something. However, my business as a leader is such that no one is earning a salary any way, not even me! so they shouldn't worry about it too much.
I think some musicians are more political about who they choose for projects.I try not to think that way. My first Criss Cross CD, I used those guys(Gary Thomas, Drew Gress,Ralph Peterson) because I love their respective sounds. They were not the first choice of Criss Cross. Criss Cross tried to talk me out of using them. And Ralph Peterson helped me to get the date in the first place! Now that would be screwed up! " Thanks for getting me the date Ralph, but I got another drummer....." Hah!
I wanted to record that band again, but Criss Cross wanted a 'Nice trio album for Japan".......

Uh oh, I'm ranting again. I hope I shed some light on the process. Let's just say that yes, feelings do get hurt, everyone has probably felt left out at one point or another. But that's part of the competition. Kobe Bryant cried last season when the Lakers got eliminated from the Playoffs. And he's a gazillionare!:eek:
I could go on and on, let me know if that helps or I've I've just made it more confusing. I'm happy to talk about it more if you want.
I'm glad to see visitors on the site. Any New Yorkers out there, I'll be at Tonic tomorrow at 8 with David Glimore, a great guitarist.
:wink2: later

[gcollme]

Clunky thanks for the props and Ricci, glad you like Mad Science. I appreciate the support.:)

[Saundra Hummer]

Originally posted by gcollme
Clunky thanks for the props and Ricci, glad you like Mad Science. I appreciate the support.:)

Thanks to both of you!

This has been a fun and informative addition to this site.

George, drop back in, you have lots to say, and it is all interesting, so by all means "Rant" on. We're loving it!

[Tenorman]

George,
The guys who share your birthday are

Irving Ashby 1920 Guitarist Played with the Nat Cole trio and Oscar Peterson group in the late 40s recorded with Fats Waller, Lester Young, Charles Mingus, Count Basie and many others

Cutty Cutshall 1911 Trombone played with Jan Savitt and Benny Goodman in the late 30s early 40s plus a long association with Eddie Condon

George Elrick 1903 Drums Vibes Vocals Played with a lot of UK band who are probably not well known. He was also with Ambrose, Henry Hall and made recordings with Joe Venuti and Valaida Snow

Snub Mosley 1905 Trombonist and Slide Saxophonist:eek2:
Alphonso Trent's Orchestra, Fats Waller, Luis Russell, Louis Armstrong

[Saundra Hummer]

One more time!!!

George, check out the "All Happy Birthday" thread on this site, Tenorman, EKKE and Stilllife, aka. Patricia contribute to it everyday, and it can be fascinating, lots of very interesting tales about jazz artists, their history and their birthdates.

My favorite thread. however a lot of it was lost when the site crashed, really a sad day for all of the contributors. They are rebuilding and it is growing again. They are dedicated to showing us what a fascinating history jazz has.

[gcollme]

Wow ! I am showing my ignorance, or at least my youth. I need to do some research, I suppose. Thanks for the info. I admire Fats Waller alot, before I even thought about playing music, I listened to Fats. We used to sing' "Your Feets Too Big" and " I want Some Seafood, Mama" around the house. There's a version of Fats doing "Until The Real Thing Comes Along" and I love this tune. I was going to play it on Marian McPartland's show the other day but we didn't have a much time as I thought.
:)

[relyles]

George,

Here is a question that might be helpful to newcomers to your artistry that may be interested in checking you out. Do you feel comfortable identifying possibly 3-5 recordings that you participated in either as a leader or sideman that you are most satisfied with for your personal contribution or the recording as a whole?

[Tenorman]

There was a bit of discussion about humour in Jazz, and most of the examples which came up were 30+ years ago. There is a damn good London Swing band called Ray Gelato Giants who go back to that style of "off the wall" lyrics coupled with excellent musicianship who bring that fun back in to the music. (They are doing the Ronnie Scott's Christmas slot with that old warhorse George Melly who occasionally returns to Storyville Blue humour, if he can get away with it

Would you inject some humour (i.e deliberately to get an audience to laugh while you are playing, not at the announcements) into any of your gigs. Suspecting that you may say no, my next question would be why not?

[rachel]

Originally posted by gcollme

Ok, I'm taking a break for a Family Guy marathon! If you haven't seen this show, It's like The Simpsons on Acid! It's really out there, borderline offensive at times, but I like this type of humor.....
GC:laugh:

Question #1: What channel is the Family Guy marathon on? (rather important question as I'm missing it while I type...)

Question #2: Who do you like better: Stewie (who escaped from his mother's cursed ovarian "bastille") ... or Brian the martini-swilling, French-speaking canine who has a third-degree greenbelt in Tae Kwan Do? ;)

My opinion changes daily, I think.

[Saundra Hummer]

Originally posted by gcollme
Wow ! I am showing my ignorance, or at least my youth. I need to do some research, I suppose. Thanks for the info. I admire Fats Waller alot, before I even thought about playing music, I listened to Fats. We used to sing' "Your Feets Too Big" and " I want Some Seafood, Mama" around the house. There's a version of Fats doing "Until The Real Thing Comes Along" and I love this tune. I was going to play it on Marian McPartland's show the other day but we didn't have a much time as I thought.
:)

We tolarate ignorance, but "YOUTH!', not so sure about that one!

[gcollme]

Did I offend you, Sandi? I'm sorry, or were you joking? Uh oh....
In response to the question about what CDs I am on that I am satisfied with......None! Well, There are some of mine that I am particularly proud of overall, and that's usally more to do with the overall composition. I usually hate my own playing, but that can be good, because then you are motivated to practice. Actually, in the past few years, I have been checking out Kenny Werner's book and meditation CD called "Effortless Mastery". It's very much like The Inner Game of Music. While I don't agree with everything Werner says, I like the idea of " every time you play, you believe you are hearing the most beautiful sound in the universe." I've tried this and it works. Usually , it's after I hear what I've played and I hate it, but one great thing about creating your own music is that it's totally subjective, and no one can really tell you it's wrong or bad. That's really up to the artist, whether they can live with what came out at that particular moment.
I've benn fortunate to have many experiences in the studio. When you first start to record yourself, It's akward because you feel like you are under a microscope and you become self concious. The more you do it, the more comfortable you become and you learn to live with your improvisations and interpretations. It's not about talent, it's about familiarity and experience. That's being a professional.
Getting back to the question, my 5 favorites that i've been a part of?
1) Como La Vida Puede Ser(Fresh Sound) I was very excited about these compositions, and it was great to have a tour in Spain before going in the studio. I'm only sorry that no one paid any attention to this CD, because it had no "names" on it( mostly Spanish musicians who are great but not known internationally).
Musicians I played it for were blown away, if I do say so myself.
2)Activism(Steeplechase) I put this because it was my first date as a leader, and considering how it came about, I think it sounds pretty good! Someone remind me to tell that story....
3)Mad Science(Sunny Sky) I think again, considering one day in the studio, one day of mixing, this came out well. It's the first CD I've financed myself.(Available at CDBABY and North Country, sorry for the plug!)
Actually, there is a review of this CD my Mark Corrato, on this site. It's the first review I am aware of, and I am flattered by much of what he says, but other things I don't agree with.
I'd love to know what people out there think of the review in relation to the actual CD itself, and Mark, if you read this, I am not trying to be weird, I just am curious to see if people who have heard the CD agree or not. Mark seems to have a predisposition against organ trio. I do too! That's why I made this CD, because I wanted to do it differently.
4)Greg Tardy, Abundance(Palmetto) I am just thrilled at how well this came out, particularly because at the time in the studio I didn't think it sounded that good. The mix was a little weird. But after 6 months and then hearing it mixed, it was really a nice date. Greg plays some really nice stuff, and it also features Sean Conelly, Woody Williams, and an alto player, ugh, I'm spacing on his name, he's from Puerto Rico......
5)David Gilmore -Ritualism. I was glad we could document this music because we had played a lot of gigs, never more than 2 in a row, but nevertheless. It's a great CD, I think you can get it on CD Baby. Gilmore writes some very challenging music and I think it comes off very well.
In regards to the Family Guy marathon, thiat is taking place only in my apartment! I rented the DVDs and I'm hooked. I think Gary Thomas told me about this show earlier this year and I said, ah that looks stupid. Boy was I wrong. I liked the episode where they have to live in the deep South. The Racoon that keeps jumping on Peter, My God. And I'm glad to see Jonny Brennan getting some post- Jerky Boys work!
I need to break for a sec, thanks for coming to the site!:wink2:

[gcollme]

Humor, or Humour, I think that's the British Spelling. Tenorman, why would you suspect I would say no? I guess my music typically sounds dark and stormy( Bartender.......) Actually it might not be like Peter Schikele Humor, or Victor Borge humor, or something really obvious like that. Sometimes I might do something that's more of a inside joke, like quote some obscure tune, but that's usually for the musicians on the bandstand. Also, comedy, whether it be verbal , or musical, is much more difficult than drama.

Thoughts?:laugh: :laugh: :laugh: :laugh:

[Saundra Hummer]

No just my weak attempt at a little humor. Love your sense of it!

[solarjazzband]

Hello George,
If you could start all over again with playing music? What would you have done, and what would you have NOT done? I'm 16 now, so I can do that or don't :)

PS I love your record with Rosenwinkel, and the Metta Quintet!

[relyles]

I own both Ritualism and Abundance . Enjoyed them both. I think naming these two recordings exhibits the diversity of the tupes of projects you have been in because IMO they are very different types of projects.

I have been wanting to hear more Tardy recently so maybe I will go back and give that one another list. I have seen him live a number of times with Andrew Hill and I have all of his recordings as a leader. I also like the stuff he has done with Dave Douglas.

[relyles]

This is a question that I have often wanted to ask a professional musician, but for possibly obvious reasons have been hesitant. You seem open to all questions so I will try.

I am sure you know that there is a subculture of music lovers that trade unofficial recordings of live performances. I am not referring to boot leg recordings that are being sold, instead people who conduct one-for-one trades usually from FM broadcasts or audience recordings (with or without the artists' explicit permission). I am curious what are your feelings on this? I have heard arguments on both sides, but not very often have I heard a musicians' impression. Also, if this topic has ever come up with other musicians that you associate with do you have any idea how other musicians feel on the subject?

I recently read something by Ken Vandermark that indicated he had no problem with the practice and I think Steve Coleman also does not actively object.

I would be very interested to hear you thoughts on this.

[gcollme]

I just got back from the gym. I need to lose about 20 pounds. I haven't been touring as much as in past years, but in October I was gone almost the entire month. And such was the schedule where I couldn't exercise in any serious way. Some of these tours have you taking 9 hour train rides right to the venue, play the concert, crash at the hotel, start all over again the next morning. I felt like Veal(Not Reginald,the animal turned meat), confined to a small space and overfed. Not force fed, but I overeat out of boredom, After 9 hours on a train, I say, Ahhhh one bag of M and M's won't hurt me. But like I said, it starts all over again the next day:(
On to questions and comments. Greg Tardy, a good friend of mine, although I haven't seen him in a while, is working alot as a sideman, which is good, because he has a baby now and it's good to have money coming in. I have an inside source at Palmetto and he says that they don't have plans to record Greg in the immediate future, which is sad, because I think Abundance was really strong and it would be nice to follow up. That quartet did 6 weeks in Europe in 1998. We went to Germany, Switerland, Austria, France, Portugal, and even Angola(Africa). We really developed a nice thing and I hope we will do it again. (Oh, my earlier post, Miguel Zenon was the alto player on Abundance.)
What would I do if I could start all over again?
I would start with a trust fund....:laugh:
No, seriously, that's a hard one to pin down.
Practice more? mmmm, I wish I would have practiced smarter. When you're young, sometimes you don't know what to practice, how to be efficient. You waste a lot of time. And you do a lot of thing out of fear and self conciousness. Which maybe can be a good motivator, but more for developing basic skills as opposed to creativity.
OK, I'm rambling. Practice smart. Also, I wish I had known I would end up at the piano as opposed to on trumpet. I wasted a lot of time with being frustrated about my chops, I could have been learning Chopin, or Tatum!
It's hard to know where you will end up. Especially the way the music business is now. I think the scene in the U.S. is strange, it seems like there are always more and more musicians moving to NYC , but fewer places to play, especially for young cats. I learned to play on hotel gigs and in dinky clubs in Baltimore. I wasn't making much money, but my living expenses weren't much either, so it was cool. You can't live in New York on $200 a week. You could in 1991 in Baltimore , you could live like a king.:eek2:
Now I'm wondering if you want advice or just my perspective. In a way, I wouldn't change anything. I think you can't force destiny. You can influence it, but there are some things you can't predict or control. You should be ready when you get an opportunity. Most of the good gigs I've gotten I did nothing proactively to get. Gary Bartz called me out of the blue to do Sweet Basils for a week in NY. Luckily , I already knew his music. Vanessa Rubin heard me with Bartz at Bradley's. Luckily, I had played with a lot of singers in Baltimore and could be a sensitive accompanist. Lonnie Plaxico, with whom I had worked twice in my life, got my on a 9 week tour with Cassandra Wilson. I guess it was lucky that my calendar was empty for that time period!
So besides maybe getting serious about piano earlier, and maybe having wealthier parents:laugh: I don't know, i could have had much less success. I'm looking towards what the next 10 years will bring.
Here is some advice. GET IT TOGETHER BEFORE YOU MOVE TO NEW YORK!, or LA, or wherever. I think if I had moved to New York 5 years earlier, I would have had a harder time, because I wasn't ready. Don't move to New York to get it together, unless you want to go to the New School, or something like that. Most of what I learned was on the bandstand like the old days, and I think that's what students don't get today.
I interviewed for a position at Berklee two years ago, and it amazed me that there are no places to play in Boston! All those students! What the hell do they do? I guess they play at school. It seems a shame with all the money those schools have(tuition being 30,000 a year at Berklee) they couldn't fund a few venues outside of school to create a real enviornment for music in Boston. That makes no sense to me at all.:mad2:
I have to run to a gig, later:wink2:

[Saundra Hummer]

Hi George,

Your openess is so refreshing in this day and age, open and starightforward!

I wish more of the nightclubs had jam nights, as that is often times a way to get out and see the response to your music, there are even times where the people playing at these jams develop a following, without ever first being paid to perform. Gives whomever the chance to experience what it is like to play for an audience, where if you aren't good, you certainly don't get the attention, but get the message, not that there is a hook like at the Apollo, it is that the people just don't stop talking, and sit up and notice. This isn't always what happens, as even the top entertainers can have the chatterbox or the obnoxious drunk in the audience, but it does give you a feel for what it is that people like, and what it is that they want to hear. Did you ever go the jam route to see the reaction, or to play with someone you knew would be there that you thought the two of you, (or more) would jell? Just doesn't seem to be the opportunities there used to be for any musician.

It's too bad when the big recording companies who are making such big bucks off of their teeney bopper musicians and stars, can't allocate some of those profits to promote or at least record some trully talented musicians, even if it is in the form of rereleases, it would almost be a public service, like they do with classical music, or it seems that they do this.

You can tell I am just a fan, not a musician, and I do just wonder about these things, and I do miss how it used to be when so much live music was so available to me, and how I feel badly that everyone can't experience it in the way I did. A golden time.

[Tenorman]

There seem to be very few modern musicians who will dare risk going for a laugh. Has Jazz got too serious? A whole new subject

The in-jokes are always good fun, some of the musicians who have been at the evenings I organise in the local pub play the game of spot the quote when they realise that they have a small group of listeners among the drinkers and talkers.

One young (early 20s) band got a bit carried away one night and painted themselves into a corner, which was getting increasingly desperate, they then started trading quotes from assorted Walt Disney films, 'til none of them could play for laughing. A few puzzled faces around wondering what they had missed

[KolumBUZZ]

Yeah, I appreciate your openness and sincerity as well man. Whenever you have a chance, I wonder if you could tell the forum what it was like to play in Angola? Also, what was the pretext of you playing there- a festival of some kind? Finally, if you had to relocate from the U.S. to anywhere in the world, where would you move?

[gcollme]

:o
Hey gang, I just did the gig at Tonic with David Gilmore. I actually forgot the AC chord for the keyboard, the second time in my whole life of playing keyboards that I have done that. Luckily, my best friend David Ephross drove to my apartment , picked up the chord from my girlfriend, and drove to deliver it(from Brooklyn).
What a mensch!
It was nice gig, we did his piece that was funded by Chamber Music America. I'm doing my CMA concert next week, and I'm playing in Robin Eubanks concert also. Thanks, Chamber Music America.'I'm a little tired, I'll talk about the Angola gig tomorrow and anything else I haven't responded to yet.
:)

[Saundra Hummer]

Originally posted by gcollme
:o
Hey gang, I just did the gig at Tonic with David Gilmore. I actually forgot the AC chord for the keyboard, the second time in my whole life of playing keyboards that I have done that. Luckily, my best friend David Ephross drove to my apartment , picked up the chord from my girlfriend, and drove to deliver it(from Brooklyn).
What a mensch!
It was nice gig, we did his piece that was funded by Chamber Music America. I'm doing my CMA concert next week, and I'm playing in Robin Eubanks concert also. Thanks, Chamber Music America.'I'm a little tired, I'll talk about the Angola gig tomorrow and anything else I haven't responded to yet.
:)

Hi George,

I am just hoping one thing, that you'll stick around after you are through with your question and answer sessions here on AAJ. I have enjoyed your posts tremendously, and would hope you could become a permanent voice around here, as you have a lot to contribute.

[solarjazzband]

Thanks for your reply on my question what you would have done different if you would start over again.

You're right that I'm often waisting my time. However, I don't practise really much, because I have school too much. I only have about 3 hours time a day. So IF I study, one day it's a good day, I learn from myself, but the next day, my fingers just can't play anything. btw, I play guitar (so Rosenwinkel is my hero at the moment :D ) And also often I'm just playing automatically, without thinking, and I know it's wrong. I can't help it.

[gcollme]

Thanks, Sandi for the nice words. My only problem is that I never took typing, so I can't type fast or well enough to make it work right. But I enjoy having a forum to talk about various things. I think it's a good thing.
I wanted to answer 2 questions. 1st: What was it like in Angola? And why were we there. There is a guy down there named Geronimo who is a huge jazz fan. He brings different bands down to Luanda(the capital of Angola) maybe every month. It's a 7 hour plane ride from Lisbon, Portugal. Somehow, Greg Tardy ended up going as part of his tour. I think his manager at the time , Gail Boyd, had a connection, because Vanessa Rubin went the year before( I was otherwise occupied). It was to say the least a very interesting trip.
Whenever I tell my mother what country I am going to, she will look up info about it on the net. After looking at some grim info, she called me up and questioned whether I should go on this trip.
There was a travel advisory from the State Department(Angola was still involved in it's 30 year Civil War.), it said something about there being one hospital, lack of drinking water, so on, and also one was required to get a Yellow Fever vaccination. I wondered about that, so I asked Gail. " No, don't worry about, Vanessa didn't have to do that." So when we arrived in Luanda International Airport after a 7 hour flight(flying thru the night), the first thing they asked us for going thru immigration was a YelloW Fever Vaccination Card:eek:
And it was funny because evryone else had them, no one in our party, though!"Well" said the guy at the desk, " You can get your vaccination here in the airport!":frown2:
Being in a third world enviornment, and knowing that roughly 10 percent of the population of Sub Saharan Africa has HIV( Correct me if I'm wrong, but I know at least some Sub Saharan countries have this sad statistic), we were thinking, well, maybe we'll have to go back to Portugal. Them Geronimo to the rescue! I suppose he probably paid a bribe and got us thru. He claimed that he had convinced them not to vaccinate us because we were only there for 4 days and the vaccine takes 5 days to take affect. Whew:eek2:
And then we were in the car to the hotel.
It was quite a contrast from the plane ride, where we had been talking and joking around( I think some of the other passengers were singing!). I tell you, we as Americans have no idea what real poverty is. We we struck dumb by what we saw. First off, I had never been to Africa, so I observed that , as opposed to Black neighborhoods in the U.S., where you have all shades of skin color, the Angolans were all very dark. And they have NOTHING! it was just ghetto after ghetto, makeshift huts, people carrying drinking water,. At least in Brazil, you have the same thing, but that's contrasted by nice areas and beaches and so forth. This was really like, serious poverty.
And then all of a sudden, a "five star" hotel in the middle of town!
Two men came with us from Portugal. Hilario, A really nice guy, who was sort of our road manager/liason, and another guy who was the piano tuner. I guess 30 years of civil war, someone the demand for piano tuners dried up! They each had brought some old t-shirts to Angola. I asked why. They said they give them to the kids. When we got to the hotel, and they started giving shirts to the kids outside the hotel, if was as if they were handing out 100 Dollar bills!
They took us each day to a really fancy restaurant, with fantastic Portugese Cuisine, Fish, Dessert, Wine. And right across the street from the Restaurant was probably the worst slum that I saw. I was so depressed I just filled up on wine, it was really the only was to process it. Just stay buzzed.....( I'm not a huge drinker, so it takes about two drinks and I'm done.)
There is a very small middle class in Luanda, and one night we went to a club. I remember that the band was very good, and they were playing what I assumed to be Samba rhythms.
"No, that rhythm is Angolan. It is called SIMBA!" WOW, if you think about the routes of the slave trade, Angola is right across from Brazil. It was freaky to think,I am really at the source of that music.
We went out on a boat on a river one day, and they showed us a house that had been a place where slaves were sold and shipped away. That was pretty intense as well. I know it was a very meaningful experience for Greg and Woody Williams, who are African American. Steve Coleman told me that most black jazz musicians have never been to Africa because they only go where the gigs happen to take them. Steve has funded his own trips to West Africa just to learn, from the source ,about music. I think that's really cool, if you have the time and resources. I guess we were lucky enough to have a gig there.
When I said 5 star hotel, I guess that's in relation to the fact that it was the only Hotel in Luanda! I tell, you , the Third World is really something else. I went to use the elevator one day. I remarked to another person waiting that it seemed so slow, and I was staying on the 14th floor." Yeah, the elevator crashed last week. Six people were killed." ...............
I took the stairs from that point on!
So I left Angola feeling extremely lucky to be living in the Western World of comfort, where I don't go out of my apartment worrying that I'm going to step on a landmine( I saw many angry looking minefield victims in Angola).
And the second questin I wanted to answer, where else would I want to live if I didn't live in the states? I started seriously looking at that after 9/11. Just after 9/11, many New Yorkers felt a sense of panic. I thought" I have to get outta here!" And I guess that has subsided. Now, when I look at what the Bush Administration in doing, I think" I gotta gettouttahere!"also. I said I wouldn't get too political again( maybe that's pointless, we want to keep this forum open to whatever comes up), but I think if Bush wins another term, The U.S.A. is going to be in trouble. Unless you're rich and in some field besides the arts. Honestly, the only place that I consistently make any real money is in Europe and Japan. Gigs are drying up in New York , and I don't know about the rest of the country. I've actually considered Toronto, because it is so close, and I 've heard you can get grants a lot easier than here.
Don't get me wrong, I think the U.S. definitely has it going on , why else does everybody want to move here? I think this is the land of opportunity. However, like I said, if those opportunities come and go and after 10 years of trying , you're still struggling, I think there are places where the quality of life is a little easier. Not neccessarily more interesting, probably everywhere is boring compared to NYC.
Just based on places that I have been and liked the vibe, I would name these cities as places , if I could still have music as a profession, that I would like to live.
Toronto
Copenhagen
Barcelona
Munich
Tokyo
Vancouver or Victoria
maybe Seattle?
I don't know, on second thought, maybe I'll try Queens........:wink2:
keep em comin'!

[gcollme]

In regards to sharing bootlegs it's a touchy subject. I think that copying CDs is not necessarily wrong- most artists don't see much profit from CDs. Notice that that the outcry about MP3 downloading was from company executives, who make 40-50 percent of the profit. And the retailers make the other 40-50. Artists usually get 10 pecent OR LESS if anything. Most small jazz labels pay us a small fee upfront and we see nothing after that, unless we can keep our publishing(which most small labels try to take, also). I personally don't care if someone tapes my gig and trades it, I just hope you'll give me a copy, and I hope you won't press it andsell it on CDBAby! And I think it 's a good idea to ask permission, most artists will probably not mind(Jazz artists.). But I have seen an instance where someone tried to tape a gig without the artist knowing, and when said artist found out, he threatend the taper with an ass whipping! And the taper was banned from the club. I think if he had asked, maybe it would have been smoother.
I did a gig in Chicago last year with my organ band Mad Science, and some tapers came, because they knew the drummer, Rodney Holmes, from Steve Kimmock's band. They asked if it was okay, I said, yes, just send me a copy, and that';s what they did. The recordings didn't come out great because you could hear people talking pretty loud, so I still think the studio CD is more marketable. If someone is selling CDs at a gig and you buy one, that is the best way to support the artist, because they make much more profit that way.:)

[Saundra Hummer]

For someone who never took typing, your posts are great. I took it for 3 weeks back in junior high school, and didn't type much after highschool until now, and it was and is difficult to get back with the program. I have pretty long hands so I am always over reaching by accident. Better than short stubby ones I guess.

I had a friend who used to date Gorden Cooper, the astronaut, and she said that of all of the countries that he visited on their tours, that he just fell in love with Africa, said it was the prettiest place he has ever seen. Of course I am sure they made sure they avoided the places you visited. Really interesting, your take on it all.

I've seen basketball players go over there and be filmed visiting some villages and other places, and come home and feel like they wanted to kiss the ground when the disembarked from their plane, really they did,, they even said they were lucky that their ancestors were slaves, as that is whaat allowed them to be in this country,. I mean they couldn't believe the difficulties there.

Probably like Mexico, there are so many natural resources there that if it could all be tapped, and if there weren't so many corrupt govts. the people could really benefit. I know that they used to say that because off all of the natural resources in Mexico it is a "Sleeping Giant."

Who was it you played for, ex-pats from Europe, the states, or just wealthy Angolans? You may have said, but if you did, ???
Were they already fans of jazz or fans of youirs, or were they faiirly new to jazz?

I'm typing this blind in a room that is blinding me from the snow glare, so can't see hardly anything on the screen, so excuse the typo's and other mistakes, I'll try to edit it later! Thanks again for your candor, and don't worry about the politics, if you really want to vent about it all, we have a politics and non music section. Again, you are a blast to hear from and I really hope you stick around!!!

[Saundra Hummer]

Another little comment and question!

This concerns CD's. Do you or any of your friends, and fellow musicians ever sell CD's on your own web sites? That would be more profitable than middlemen wouldn't it? Maybe a co-op of a few like minded fellows with a way to sell your albums, promote yourselves, advertise you are available when you are, etc. Just a novice with no sense of business whatsoever, but just wonder about the feasability of a situation like this. A way to chat with your customers like you are doing here, maybe this could be a good thing, and then again maybe it would be more headaches that it is worth.

I have heard that the recording studios as a rule take so much, that to be able to make the big bucks, people like say, Cher, The Dixie Chicks, etc. have to tour to bring in the money as the recording studios usually don't have their hand in so deep with touring.

[Tenorman]

Hi George,
I spent a couple of years in West Africa, based in Liberia. Take a tip. No matter what anyone says you do not go to Sub Saharan Africa without a Yellow Fever and Hepatitus jab. And do not treat malaria lightly. I took all my tablets while there, and I still came back with Malaria. Malaria is still the biggest killer of children worldwide today. Although AIDS has taken over from Malaria as the biggest adult killer, there is not a lot of difference in the statistics. You don't see many benefits held for Malaria research, perhaps because it doesn't affect the developed world to any extent - sorry personal gripe

[gcollme]

Sorry if I won't be able to keep up with posting because me and my girlfriend are moving today and tomorrow. We just moved the piano and we move everthing else tomorrow. Everything is in boxes.
Yes, Malaria, I was terrified of it. I went to Thailand once, and I took malaria pills. I had some for Angola as well. I have a friend, a drummer named Mike Sarin, i think he got Malaria.
Selling CDs on my own website would mean I would have to send each individual CD, go to the post office every time, worry about billing, have a credit card thingy hooked up. I have thought about it, however, CD Baby is actually working. I've sold a few just in the past week or so,. And I just got a check from North Country. I could sell CDs from my site if I had people mail me a check.
Hmmmm now that you mention it....
GC:rolleyes: :)

[kdd]

you might want to look into getting a paypal account, it might be an easy way for people who use credit cards to buy your CDs and easier for you as well.

[Saundra Hummer]

Originally posted by kdd
you might want to look into getting a paypal account, it might be an easy way for people who use credit cards to buy your CDs and easier for you as well.

I use PayPal, and others, and so far, no problems. I used it as a buyer, and a seller on some clothing, and swimsuits I was selling, and it worked pretty well, but I, as a seller prefer PayingFast.com, as there is no charge to the seller, only the buyer pays the user fee. It is a minimal charge, and when you are a seller the payment comes to you in the mail in the form of a money order. I found with PayPal, I had to pay a fee as a seller, and it was sometime before they credited my bank account with the money. I need instant cash, ha!

Really, I am leery of PayPal, having been told horror stories by an eBayer who says he had a friend who had his bank account tied up for 6 months because of an irate buyer who knew how to make his life miserable, and he did. After that story, I buy with PayPal, but I quit using it as a sellers tool. I have talked to others, and they just think it is the greatest, so I would check into it thoroughly before using it as a means to recieve payments.

Using PayingFast.com would ease the work for you, no credit card machine fees, no fees at all if I am correct.Just post the instructions on your site, or however you plan to sell, it as simple as that.Cash in hand before you ever mail out a disk.

[gcollme]

I may take your advice. CD Baby is a good thing, and North Country has just sent me a check! I think that it's good to have a central site where people can browse many different artists. But eventually, each artist can be their own distributor.
Well, we are all moved in to our new apartment in Forest Hills Queens! It will take a little time to settle in, but we have everything here and I am relieved that it's over. Except for some furniture that my girfriend bought that is being delivered.
We used OZ movers, they were amazing, and with the snow we had yesterday, I figured they would cancel, but it didn't faze them at all! I didn't lift anything, which was a relief. I've moved 5 other times since I've been in New York, and I'm usually physically exhausted afterwards( I've done some moves, back when I had almost no posessions, by myself. Whew:( )
The hardest part for us was unpacking and dealing with about 50 cardboard boxes. The super came in and said" Jesus Christ! That's a lot of boxes!" She was amazed that I cut, folded, and taped all of them this morning. She said" You must be having a Christmas Party!". Anyway, I am relieved to be basically done with that.
I have a bunch of things going on this week.
I'm playing with a young Tenor player named Dan Pratt at a restaurant in the village. I'll be doing the organ thing, bringing my Nord Electro on the subway, we'll see how that works out. Also, I'm doing my final Chamber Music America concert at Smoke on Thursday. Friday, I start rehearsing with Japanese trumpeter Shunzo Ono for his recording. That night, I play at the Jazz Gallery with Robin Eubanks for HIS final CMA concert. I'll be in town thru Christmas, as that's the scheduele for Shunzo's recording and rehearsing. Oh, we play the Blue Note Brunch this Sunday, I almost forgot.
Are there any questions omn the table that I haven't answered?Hmmm, let me go back and look.......
:eek2:

[jazzypaul]

Yeah! You never got to mine...:( anyway, here tis again so you don't have to go shuffling through plenty of posts...

What is it that you look for in musicians when you're hiring for your gigs? What should drummers bring to the table that would make you happy? Or bass players, or horns, if and when you use them? That is, chops aside, because most people playing at your level are going to have chops to spare...

[gcollme]

I thought maybe I had forgotten something, but I also talked a little about this, in response to another question about whether people feeling's get hurt in relation to who gets called for what gigs. I personally look for people who are going to show up ,-- hopefully close to on time, but I know shit happens. And I want people to either read well enough to play what I give them, or learn it at home and show up able to get thru the gig. I don't think my music is the hardest out there, but it's not like playing Autumn Leaves all night.
I look for people that have an original sound too, I'm not really into clones. Although occasionally I am impressed when I hear someone sound exactly like ,let's say Miles, for example. It's cool for a while, but eventually, you should be able to just play, as opposed to channeling one musician.
I want players who listen and react and play with me as opposed to playing at the same time.
I also like players that have consistent time and rhythm. If the music severely rushes or drags, then it can be a drag. I don't expect a metronome, but some people neglect this aspect of music.
Also, I guess if I have more road gigs, I would want people I can stand to be around. No drug addicts, prima donnas, Republicans, HA, just wanted to see if Tenorman was paying attention! No, I don't choose by political affiliation, nevertheless, people that are cool.
Also people who will work for the money I can offer. I am not a superstar so I can't pay close to what certain people deserve. Soetimes I get lucky. The grant from Chamber Music America has allowed me to come close to paying Gary Thomas, Drew Gress, Lonnie Plaxico(WHo ubbed for Drew on the first concert), and Ralph Peterson what they are worth. I don't call people that I don't know at all, usually, with maybe a few exceptions.
I hope that answers your question.
I thik I'm getting that flu that's going around! Better drink some water......:(

[Tenorman]

Originally posted by gcollme
Also, I guess if I have more road gigs, I would want people I can stand to be around. No drug addicts, prima donnas, Republicans, HA, just wanted to see if Tenorman was paying attention! No, I don't choose by political affiliation, nevertheless, people that are cool.
......:(

Uhhh??

That one went straight over my head:confused:

[KolumBUZZ]

that was fascinating to hear about your trip to Angola...I wonder, in your talking about sidemen and various musicians- who do you think are some musicians who are really pushing the envelope today? Also, some people, including Lonnie Plaxico, say that Steve Coleman's ideas constitute about the only "movement" in the music. Sure enough too whether it's a movement or not he has some real disciples (Osby, Moran, Vijay Iyer...). Now you've played with some musicians, e.g. Gary Thomas, and Lonnie, who have been associated with Coleman or Greg Osby, so what is your perspective on all of this? How significant do you think the influence of Steve Coleman has been?

Thanks!

[rachel]

Originally posted by rachel

Question #2: Who do you like better: Stewie (who escaped from his mother's cursed ovarian "bastille") ... or Brian the martini-swilling, French-speaking canine who has a third-degree greenbelt in Tae Kwan Do? ;)



This was a serious question.... I swear. :p

[gcollme]

Tenorman, I was just joking because you said you seemed to want to keep the politics out of this forum.
I guess I have a strange sense of humor.
Speaking of humor, to Rachel with the family guy question, I guess I would prefer Stewie, because he has more of a range and they seem to put him in some really off the wall situations. Not that they don't with Brian, but I guess that he is supposed to be an adult dog, while Stewie can't be more than 2 years old, so to me it's even MORE outrageous than a talking dog. But the more I watch it, It's just hilarious that both characters speak like that and no one seem to be surprised. I went on the Internet Movie Database, and unless i'm wrong, Stewie and Peter are voiced by Seth Macfarlane. That blows me away because they are worlds apart as characters and voices. I am now watching Simpsons episodes from the 3rd season and I'm trying to guess who does what voices. I think Harry Shearer does about half the characters! He does Smithers, Mr. Burns, Flanders, Principal Skinner, He might do Dr. Hibbert, anytime there is a TV announcer, Kent Brockman, it's ridiculous! I wish I could do that.
OK, musicians who have an edge. It's hard to say now because maybe what i think is an edge others might not and vice-versa. I studies at the Banff Centre Jazz Workshop in Canada in 1990. Steve was the Artistic Director at the time. I was always attracted to the MBase type of stuff. I was really into Gary Thomas' approach, but remember that he develop his thing independent of Steve. He and Greg Osby did go to HOward University together. Also, I did one concert with Steve in August. I have to say it was pretty overwhelming. Steve is truly one of the most intense musicians I have ever dealt with. He is totally consumed with the study and performance of musical ideas. He has studied a tremendous amount of music. When you are playing one of his compositions, he hears EVERYTHING, you have to be totally on it all the time. He writes these forms where there are 5 different rhythms going on at once, and you have to know all of them and how they fit together in order to be free in your improvisation. I honestly have never played in a more demanding situation. Oh, and he doesn't give you charts. He gives you a recording, or he'll sing the part and you'll have to tape it, or memorize it, or write it for yourself. If you are interested, go to the MBase website( I think it's mbase.com)and check out his explanation of the mbase concept. Believe me, it's about WAY MORE than playing some odd meter funk with funny sounding lines. MBASE is not a style, it's about communicating through structured improvisation. A lot of people hear his music as just 'out' or 'free' or what have you. It is highly structured, very difficult structures, and I practiced and prepared for that one concert for at least a month if not more. And I still came up short. I was pleased that he asked me to do a gig, but I honestly can't see being in the band regularly, one because I do a lot of other gigs, and I think he wants people who are devoted to his concept, and two because I didn't feel like I played well on the concert anyway! I have a lot of respect for Steve, and just that one
experience inspired me to think a bit differently about what I'm trying to do.
The thing is, Mbase is over 20 years old now, so it's not like this is the only new thing. Steve's music has definitely evolved within itself, but in terms of what is the new thing, I think it's hard to say. Jam Bands? The Bad Plus? Norah Jones? I think these are sort of flavor of the month, but I don't know if they represent a serious school of thought. I think a lot of things now are new wrapping on an old package. But maybe that';s okay? As the concept, Organ trio with tenor, like my CD Mad Science,isn't a totally brand new concept out of thin air. I tried to do it in a unique way, my own way. I wrote all except two of the tunes, and I try to play the organ without any peconcieved notions. I think that makes for good improvisation. If you really know what you are doing, you can be spontaneous. Steve Coleman, perfect example, he knows the form and the stucture, he knows the alto saxaphone, so he can do whatever he wants., musically. That is my goal, too.
I think I went off on a serious tangent. Did I answer your question at all?
:confused:

[Saundra Hummer]

Hi George!

Fascinating stuff!!

We lived next door to a composer, he was into pop, he was the man who wrote Yellow Polka Dot Bikini, and I think writing jingles for T.V., and radio. He wrote his jingles by playing bits and pieces, bits and pieces all day on the organ, this is what I woke up to everymorning, everymorning, and into the late afternoons this would go on.

I don't know if you have ever been to Hermosa Beach, but for a couple of blocks back of the ocean, most of the houses are so close that you could sometimes stand with your arms outstretched, and it was as if you could touch each house. Well, we weren't quite this close to his apartment, but it was too close, as the music was driving me wacko everymorning, and more often than not into the evening,

This left me with an aversion to the organ for quite sometime, until Ramsey Lewis, and Raunchy, and a couple of other of his tunes. Loved that sound, and loved the background noise. Got to see him at the Lighthouse, and they even put in the audience and bandstand noise exzctly as it was on the record. There are now other organ tunes and artists that I enjoy, but it took some doings as that was really just too much to stand, never ever hearing the end of a tune, was something else that would drive you crazy, thinking that the one time he might play something to its conclusion, but never doing it, year after year, it was really awful. The funny thing is that after he moved, another musician moved in, and they used to rehearse at his place, and even though they were into jazz, again, it was the same, never ever finishing a tune, just playing bar after bar, if that much, over and over, so, it was off to the Lighthouse for me to hear a song played to it's completion, even if it was Art Pepper playing for over an hour on a solo as he was known to do. I could count on him finishing it. He's another favorite of mine.

[Tenorman]

Still more puzzled. I can't find where I said no politics. Anyway, I had a dig about the lack of support for Malaria research, against what is being done for aids, and if that ain't political, I don't know what is.

Anyway don't worry about it.

Query: being a musician, do you see other musicians around, who you wonder why they aren't better known / making more recordings / better gigs.

The reason I ask is that I have got to know a few professional musicians and a couple really stand out, but they don't seem to be getting recognised by anyone who matters. I even bumped into one at the weekend who was leading a Christmas "street band" near one of the shopping centres. I know what this guy can do, and I was really quite saddened that this was what he had to do to keep the money coming in. I am probably being unfair, because he seemed to be enjoying himself (or perhaps it was all show).

The US is a different market, but is what I describe unusual?

[solarjazzband]

George,

I've often a little problem with 'feeling totally free in the music'. When I play on the tuesday jamsession here, it's always very very cool, kinda improvisation (free) music, but not á la ornette coleman, you know...

But I want to be able to play 'whatever I want' if I play with other people. But often, something irritates me, and that blocks me too. I can't think really 100% clear. And I want to be 'above' the music.

Have you experienced the same problem? What would you do?

[relyles]

I have heard a radio broadcast of the performance you did with Coleman in Marciac. Nothing about that concert - including your contribution - seemed subpar to me.

[Saundra Hummer]

Hi George,

Looked up the "political comment," it was kolumnBUZZ, not Tenorman. Tenorman is a "Bloody Scott" living in England right now, so there is where the confusion lies. He gets into the political fray once in a while, and contributes to the "Birthday" thread, which I enjoy so much.

He puts on some jazz events when he is able, trying to expose as many as he can to the music in Scotland, and England. Likes his sports cars too! Pretty well rounded member.

[jazzmessenger]

Originally posted by gcollme
If someone is selling CDs at a gig and you buy one, that is the best way to support the artist, because they make much more profit that way.:)

I hear this from time to time. But I can't quite understand why this is the case. Can someone explain this to me?

[Tenorman]

The artist gets them from the company at "Trade" price or less, and then sells them to you at retail, thus not only giving them the Royalties but also the Distributer's and Retailer's profits

[KolumBUZZ]

George, you answered my question quite well enough....all very interesting. So a little follow-up if I may though- do you and your musician friends ever discuss the question of there being any "movements" in today's music?? Generally speaking, I think you're right that most of what is being played is old music in a new wrapper, but...

from my perspective at least, these are some "conceivable" movements:

- Steve Coleman, M-BASE and its descendants...

- David Sanchez/Miguel Zenon/Luis Perdomo, etc....there is a real strain of "progressive" latin jazz gaining ground.

- a kind of new "cool" school, including Mark Turner, Chris Potter, Kurt Rosenwinkel, Brad Mehldau, etc.

I don't know, maybe you find this trifling. To me it's interesting though to consider whether there are any actual "movements" in today's music. The fact there are less venues where open dialogue can take place, and less working groups, kind of fights against this, but I still perceive there will always be certain sets or cliques of musicians working to develop a certain sound....whether they can influence people beyond their set is another question altogether. Supposedly Steve Coleman is having a huge influence on young musicians in Europe and in Japan...

[steffi]

Hey George----Welcome to Queens....what are the set times on Thursday night?

[gcollme]

Hey gang! Glad to see some new posts. Steffi, I'm liking Queens so far, I took a cab from the village last night, it was only 20 dollars including tip. I was afraid it might be a lot more. It's really not too bad of a trip, subway or car. The set times tomorrow at Smoke are 9, 11, and 12:30, I believe.
Kolumbuzz, I think that's an interesting take on 3 distinct modern trends in Jazz. Mbase, Modern Latin, and Rosenwinkel/Turner/Meldau. Definitely a lot of young players are checking out the last one, which I think is good and bad. I've run into a few cats who only have one influence, and it's someone only 5 years older than they are. I think that's cute for a while,, in fact, when I was first starting, I was really influenced by Geoffrey Keezer, and he's YOUNGER than me. Whoops... I think it's important to have many influences and to know some history. Not to be obsessed by it, but to , you know, have a well rounded musical education. A lot of kids now are impressed by what they see as jazz stardom, people like Kurt, or even Josh Redman, and 20 years ago Wynton Marsalis. So they learn all the Mark Turner solos--cool, meanwhile, Mark checked out Trane, Wayne, Joe Henderson, Warne Marsh, Lee Konitz. I think it's important to understand that. I was a real fan of Kurt Rosenwinkels band when they played at Smalls. I recorded his tune, #10, before his CD came out!

I think the progressive latin thing is exciting, Miguel Zenon is seriously bad(meaning good!). Actually, I heard some of Gonzalo Rubalcaba's original music and I was blown away! ALso, Don't forget Don Byron has his 6 musicians band, which is Afro caribbean Music with some interesting harmony. Don's had that band for about 10 years.

I think the Mbase thing is a bit more distinctive, because it's not really about style but a way of thinking about music. I think it's had a huge impact on jazz. In a way, the new cool school seems to run counter to it. Both seem to have a reputation as being "cold" and "ultra intellectual". I think Coleman and Turner have moments of serious passion and intensity , whether it be improvisational or compositional.
I guess I'm pretty damn opinionated! What can I say?Isn't that what these pages are for?
Reyles, I wish you had taped that concert, I'd like to hear it, maybe I would agree( well, maybe not. I was lost about half the time, and the other half, I was pretty uncomfortable. Everyone else, especially Steve, was great on that concert.)
Yes, when a musician makes his own CD, he pays maybe 1000 dollars for 1000 CDs, so that one dollar per CD. If he sells them at the gig for 10 dollars, then 9 dollars is pure profit, less whatever he paid the other musicians, studio time, promotion, . For arguments sake, lets say he had a home studio and the musicians were good friends so they did it for free. If he sold all 1000 for 10 a piece, he gets
9000 in profit! most independant labels pay the leader 1000-2000 for a recording, and sell him copies for between 4 and 10 dollars. Then you have to sell them for more, fewer people buy them, you see where it's going.
Solarjazzband, don't get discouraged! Music is a lifelong process. You're only 16, right? Be patient. Take your time, like Kenny Werner says, it's only music.
But now, I reread your post and you seem like maybe you are frustrated with the rhythm section, and that is hindering you, hmmm?
I noticed one thing about Gary Bartz, no matter who he plays with, and I heard him with D.C. cats and also with Idris Muhammed, he always sounded good. I think you can always learn something, even from musicians that might actually be below your level. I used to play with a musician who is a really nice cat but he's just not that strong a player. But it almost makes my time STRONGER, because I have to hold it together. I'm not sure if this is what you meant, maybe clarify........
Alright. I've been out all day, I need to hit the hay, again, glad to see posts and I'll try to keep it going......:wink2:

[relyles]

Originally posted by gcollme
Reyles, I wish you had taped that concert, I'd like to hear it, maybe I would agree( well, maybe not. I was lost about half the time, and the other half, I was pretty uncomfortable. Everyone else, especially Steve, was great on that concert.)


Sorry I was not clear. I do have a copy of the broadcast. If you send me a PM with your address I will mail you a copy.

[solarjazzband]

Originally posted by gcollme
Hey gang! Glad to see some new posts. Steffi, I'm liking Queens so far, I took a cab from the village last night, it was only 20 dollars including tip. I was afraid it might be a lot more. It's really not too bad of a trip, subway or car. The set times tomorrow at Smoke are 9, 11, and 12:30, I believe.
Kolumbuzz, I think that's an interesting take on 3 distinct modern trends in Jazz. Mbase, Modern Latin, and Rosenwinkel/Turner/Meldau. Definitely a lot of young players are checking out the last one, which I think is good and bad. I've run into a few cats who only have one influence, and it's someone only 5 years older than they are. I think that's cute for a while,, in fact, when I was first starting, I was really influenced by Geoffrey Keezer, and he's YOUNGER than me. Whoops... I think it's important to have many influences and to know some history. Not to be obsessed by it, but to , you know, have a well rounded musical education. A lot of kids now are impressed by what they see as jazz stardom, people like Kurt, or even Josh Redman, and 20 years ago Wynton Marsalis. So they learn all the Mark Turner solos--cool, meanwhile, Mark checked out Trane, Wayne, Joe Henderson, Warne Marsh, Lee Konitz. I think it's important to understand that. I was a real fan of Kurt Rosenwinkels band when they played at Smalls. I recorded his tune, #10, before his CD came out!

Solarjazzband, don't get discouraged! Music is a lifelong process. You're only 16, right? Be patient. Take your time, like Kenny Werner says, it's only music.
But now, I reread your post and you seem like maybe you are frustrated with the rhythm section, and that is hindering you, hmmm?
I noticed one thing about Gary Bartz, no matter who he plays with, and I heard him with D.C. cats and also with Idris Muhammed, he always sounded good. I think you can always learn something, even from musicians that might actually be below your level. I used to play with a musician who is a really nice cat but he's just not that strong a player. But it almost makes my time STRONGER, because I have to hold it together. I'm not sure if this is what you meant, maybe clarify........
Alright. I've been out all day, I need to hit the hay, again, glad to see posts and I'll try to keep it going......:wink2:

Yeah you're right about Kurt Rosenwinkel, all jazzguitarists, at least in Europe, are too much fan of him, and they're transcribing ALL his solos, and they're starting to sound like Kurt. But I noticed that, and I'm still trying try to spread my listening/studying artists. So not only from Kurt (and it's hard, because he really IS great). But I didn't even transcribed one solo/song of him :D I tried to be smart... Now Kurt is for about 15% in my listening/study plans. And by others about 80%. They're not thinking.

And about your answer to me, yeah I think you're answer helped me, although it wasn't really what I was asking :D But maybe you're right, that it may come when I'm older...

[steffi]

George-
I heard that someone can play any chord on the piano and you can name it right away. I also heard that you write all those crazy hard tunes away from the piano. My question for you is this: how did you develop your ears? Do you have perfect pitch? Do different chords/notes make you see colors? I feel like I have some natural talent as fas as hearing goes, I mean like certain sounds inspire bodily functions. Diminished chords make me have to pee real bad, major #5 five chords make my nose runny, and sus chords make me sweat profusely and give me the shakes....anyways, I was wondering if you had any way of systematically developing your natural abilities.


Thanks
Steffi

[xricci]

i'm re-posting this for george...

* * * * * *

Steffi, you make me laugh:laugh:

Yeah, #5 chords make my scalp itch, whilst diminished chords make me nauseous.....just kidding. I write a lot of stuff away from the keyboard, but some things come out of just sitting down and putting my fingers down. Sometimes that helps me to be more fresh in my writing. Sometimes you want to write something that you DON'T HEAR....yet! But hearing the music inside your head is the key. I think that's why Steve Coleman doesn't write anything down now, he wants to be part of the aural tradition. I knew cats in Baltimore that had to have a chart, even for tunes they had played a million times. And they played great improvisations, too. But take the chart away and it was game over. I 'm sometimes guilty of that, because i'm not the world's best sight reader, and I work on my reading, but then you rely on the music being on the page and connecting it to you fingers, as opposed to using your ear.

I don't have natural perfect pitch. I consider myself a good guesser! But if I'm really on it, I don't need a reference to tell what is being played. Sometimes it's hard to hear things that are really fast, or really dense chords. I'll be honest, the piano is the worst instrument for ear development. Because you put your fingers down and the note comes out! Trumpet is not like that. There are many overtones for each fingering, so you have to hear the note before you play it. I think early in my career, or maybe if I'm distracted, I don't use my ears like I should.

I used to think that people who sang along with their piano playing was jive! Now, unless it's really affected and annoying, I think it is a way to connect your ear with your hands. I do it am home sometimes when I am practicing. Coleman actually recommended it to help my phrasing.

I used to see pianists at Peabody sitting in the cafeteria, looking at sheet music and practicing in their heads. Sometimes, when I'm on the road, or on the subway, I will practice a tune in my head.Sometimes that's more efficient practice, because you are not distracted by the tactile nature of the keyboard. You look at things from a melodic point of view. I think that's why writing away from the piano can be better. Although, some people do that and I question whether the music makes any sense.
Sorry, I'm ranting when I should be practicing! :tongue2:

[steffi]

George- Sorry I didn't make your gig last night, I was working, how did it go?

[KolumBUZZ]

Thanks for your insights George. It's always good to hear what MUSICIANS actually perceive about the scene and other musicians, not hearing critics merely speculate based on second-hand knowledge (if that!)...

On schools/movements....for a minute in the 80s, it looked like there was a real defined core of fine mainstream/post-bop players who were interacting regularly....the one I'm thinking of included Kenny Garrett, Wallace Roney, Mulgrew Miller, Lonnie, Smitty Smith, and so on...now all of these musicians have gone their separate ways. I hope to see a reunion of these players at some point because I definitely think they are the most talented musicians of their generation. Kenny and Wallace played together on Chick Corea's Bud Powell record/tour...other than that, it's been very quiet.

Now, you might be hesitant to play favorites, but if you could assemble an all-star type band today (not including yourself or bandmates, just for objectivity!! lol), what would that look like? Keep in mind I ask this being fully aware of all the misgivings people have about "superbands" and the like...I'm just curious what you think would be the most powerful assemblage of talent....if you care to share...thanks.

[closer250]

Hi George!

I first became aware of your music through another great pianist named Kerry Politzer via online music at MP3.com. I have been listening ever since. Thanks for sharing your music online like that, it really helps people who normally wouldn't seek it out, find the music.

I've listened to you play on recordings in several context, ranging from your own ensembles, Buster Williams' group, and even on BET Jazz when they aired something you did with a guitarist at the Knitting Factory. I hope to hear you live one day. Your music is truly inspiring to hear.

Do you plan to offer any music for download as singles? Or is this done exclusively by your labels?

Thanks again and have a great holiday!

Peace, Cb

[george's sister, right?]

yes, comedy is much harder than anything else. it is also hard to repress it if the natural reaction is to be funny or to express humor by laughing. however, i have none of these reactions watching the family guy, no matter how many people try to tell me how funny it is. but sorry for getting political.

did you know that richard pryor sort of started out singing and playing the piano but people liked the jokes he told in between much much better? do you think that will ever happen to you?
:tongue2:

[gcollme]

Hope everyone is having a nice holiday. Sorry I didn't post for a while. I 've been working on a CD with Shunzo Ono, a trumpeter from Japan.
Answering some questions.....closer 250---
Check CDBABY for downloadable samples of Mad Science. I will be doing it on my website soon, I don;t know exactly when , but look for that.
Kolumbuzz, I think that these sort of all star groups are less likely because those type of musicians were more interested in becoming leaders and/or creating a band sound and an original concept, as opposed to an all star band. I know what you're driving at , and I could think of a few all star lineups--in a way, my project with Gary Thomas, Drew Gress, and Ralph Peterson, if you took me out and replaced me with , uhhh, let's say Geri Allen or Billy Childs, or even Dave Kikoski,it's kind of an all star thing.Add Wallace Roney, or something. But the all star concert type thing seems to be more popular with an older generation of Jazz musicians---like those Pablo All Star concerts, with Like, Dizzy Gillespie, James Moody, those types of things. And those concerts, no one rehearses and they just play standards. Which can be absolutely great, no doubt. But I think that the generation you are thinking of, they are more into a band concept.
I'm re-reading your post. Honestly, I don't think Kenny Garrett and Wallace Roney are that closely associated. Gary Thomas was actually a member of Wallace's band, as was Mulgrew Miller, I believe. I know they toured and recorded. Smitty Smith is in LA doing the Tonight Show, so he is kindof off the scene, like Kevin Eubanks.
I think the current business climate , label people, don't see how that generation was very important in the lineage of the music. I heard that Matt Pierson of Warner Bros tried to force Wallace to use Brad Meldau and his trio for a project. AS if Wallace can't pick his own sidemen , at this stage of the game!
That's the kind of bullshit that makes this industry frustrating. It seems like it's run by the people who know the least about anything!
:mad2:
To my sister, thanks for posting. I have a sense of humor, but I can't say that I would be good as a comedian,I lack the stage presence and the charisma. I wish I could do that, I think that is one of the greatest things you can do, to make someone laugh.:laugh:

[relyles]

George - did you receive the package I mailed last week?

[gcollme]

yes reyles, I got the package, and I sent you a personal message. Thanks so much, I enjoyed the blast from the past.
George C:)

[Saundra Hummer]

Hi George!

On another thread here on AAJ, "Strategies for the Jazz Community," we have been discussing ways to improve the fan base and the availability of jazz.

Any suggestions? What have you seen that works, and what do you think works best?

It's such a different situation out there when it comes to music. The promoters used to want one hit wonders that they could cash in on, move on the next, and the next, never carring to develop a following for a truly talented singer, or musician.

I think that this has been changing, but the type of music that this outlook has brought into popularity is not much to shout about.

I hear that it is changing, but who knows. It is children who drive the record sales today in such large numbers, and the pity of it is, most of them aren't acquainted with music of any merit, just slick video productions, which I admit are fun to watch, but sing along with or hum the tune to, forget it most of the time.

Just curious as to what your thoughts are on all of this. I think that we have to take jazz to the people, even making up our own venues to promote it, when and where that is possible. Wouild the people you know in jazz even be receptive to such ideas?
Lots of things that can go wrong with such events, but I think it is a good thing to try to accomplish.

We've been enjoying your input on the board, lots of fun to hear your thoughts!

[gcollme]

Hi Sandi. Yes I agree, it's a sad state of affairs. I was just reading an interview with Kurt Rosenwinkle in AAJ. He is so fed up that he is splitting town for Switzerland. I don't blame him at all. It's really rough out here. The New York scene is really tough. There are places to play, but it's really competitive, and you can't really live off of just playing 50 dollar or less gigs in town. At least I can't. Maybe a 21 year old who just moved here who eats a can of soup for dinner and has 4 roommates, that's called the starving artist. I did that when I was 25, I paid 310 a month to live with 3 other guys(one heroin addict, that's another story). We shared the living room, kitchen, and bathroom, but my room was literally the size of my closet in Queens now.
But that seems a long time ago....anyway, it's a struggle. Even people who are REALLY established are complaining. And a lot of that is lack of audience, lack of anyone who cares. I know that there are people out there who are fans, but it's really hard to make it work correctly. For example, I heard that Kurt brought his band to the Jazz Bakery in LA. It's a decent space, I've played there with Vanessa Rubin(who didn't get a great turnout, unfortunately) and Janis Siegal(who did well, actually). There aren't a ton of jazz places in LA, so if you like jazz, you're either there, or Catalina's. Kurt brought his band out there. He is signed to Verve, a huge label. They do ads and promotion and all that stuff. When the week was over, and Kurt had paid the cats, he ended up with 200 dollars. That to me is a shame, as great a musician Kurt is, to only end up with 200 dollars ? What would be his incentive to try to do that again? Jazz has a lot to compete with . I'll be getting cable TV and modem pretty soon( I've never lived in a house with cable TV in my entire life!)What would make me want to leave the house? Go all the way into Manhattan, at night? Spend 30 dollars at the Vanguard, 20 for a cab home. For one set of music! I'm sort of playing Devils Advocate here.......
You are right, we need better ways to build an audience. I don't know if I mentioned it before, but I think that Berklee, and all these other schools, should set aside some of that outrageous tuition that the students pay, and fund some kind of venue, for concerts, for teachers and students. So students can get real bandstand experience and so the community can have something, maybe for reduced prices. The Jazz Showcase has matinees for kids on Sundays, which I think is great!!!!! You can't force people to like art or support it. I think that's why the government should be involved in that, to recognize that there is more to life than buying stuff that we don't really need. What about enriching your soul? Our society ( The US and soon the world, If Bush and Co have their way) places less and less emphasis on substance, it's just sales, sales, sales, what ever sells the most is the best. That is not conducive to real creativity, to real thoughtfulness. The education system today does not promote jazz appreciation.
I'm going to the other message board now to see what is being discussed.
Thanks
George C:) :) :) :) :laugh: :laugh: :laugh: :tongue2:

[Tenorman]

George those rates are surprising and disgusting.

I have just managed to get the rates up for the place I book from £120GBP for a duo to £150-200, so that is a minimum of twice per head what you are quoting for New York

PS these rates are what the artist gets - I take nothing it is a hobby to me. I get the pleasure of some good live music, which is my reward

[KolumBUZZ]

There's a lot of truth in what you just said. For what it's worth, here in Columbus we have been trying to hold some jam sessions for high school kids, but making them more of a social occasion (we're wondering about the possibility of a improvised music "Rave") and we've been running an informal initiative to stock the libraries' jazz catalogs with better stuff. Really though, it sounds trite but there is no better way to "convert" someone to jazz than one-on-one, one person at a time. This is not easy- you can't just pull people off the sidewalk at random...what you can do is make the music more accessible, get it out of the concert hall and back into neighborhood venues...

It doesn't hurt to remind people who profess to like "live music" (as so many do), that the musicians on stage are B]professionals[/B] and need to be paid like professionals. We don't expect our doctor or the chef at our favorite restaurant to do it "just for the love" and we shouldn't expect musicians to either. Unfortunately, people are still content to look at musicians and artists (and athletes, to some extent) as overgrown children who are just having a lot of fun. People are more inclined to envy their freedom than lament their lack of compensation.

[KolumBUZZ]

...though certainly athletes are not underpaid!! lol. as to whether they are "overpaid", I think the market should dictate salaries in any given field, and the reality is that pro sports is big money.

btw, that is truly f*cked up about mehldau's trio being foisted upon roney. no disrespect to mehldau, but what roney is doing has so much more authenticity relevant to the jazz tradition, and how pierson could care less about this I find very telling.

[Saundra Hummer]

Jeeze George!!!

How sad a situaton for you and everyone else!! I have been there, just barely surviving, and it's not any fun, believe me, I know where you were coming from.

I like the festivals myself, gets the whole family involved at the daytime events, and then the night is for the adults. It draws huge crowds, and has the potential of generating quite a bit of money, set up your own booths that sell snacks, drinks souviners and the like. It could all be split between the artists, and it would draw in more listeners, and therefore the potential of generating new fans is always there. I think that tickets at some of these events could be sold, others should be free. It all would depend on what type of sponsorship or cooperation you could get from a community. Bend Oregon is open to such events, they have several happenings going on here in the summer. Each thing draws large numbers of people, and it seems to get bigger each year.

I just think that the record companies and producers have ruined the appreciation for good music, or darned near, and they need to swing around somehow and try to make some inroads in promoting some talented musicians who aren't just entertainers for little children and pubescent boys and girls. Boring music to almost everyone but them.

I doubt that they, the record company top brass have that type of music in their collections, I doubt that they even listen to it with anything else in mind other than it is making them big bucks, so why should they care if it is any good or not. Well they could start educating people to what is good by at least trying to promote music that is worth something, promote talented musicians, playing good music. I doubt that most of these people that the top brass cater to have ever heard much in the way of truly talent musicians playing a truly well written song. So how do they know if it would catch on or not.

[Tenorman]

The problem that I had here was persuading Landlords that they were not paying £35-40 per hour for an "entertainer", which is what it is preceived as by a lot of people. The majority of a musician's time is "off camera". People don't want to pay for that. Some weeks they have 6 gigs (flag that week up in gold) other weeks they have nothing.

[tkeables]

Hi, George!

I recently purchased Johnnes Ender's "Bright Nights" (Enja ENJ 93522) and was very pleased with your contributions on Fender Rhodes. How does the Rhodes compare with the B-3 (your current medium)? Chick Corea's "Light As A Feather" and Joe Zawinul's soulful stuff with Cannonball convinced me that the Rhodes had a voice that could be integrated into jazz in the right context.

[tkeables]

A few postings back, someone mentioned the house B-3 acting up at Ronnie Scott's. I'll never forget when I saw Larry Goldings at the Santa Fe Jazz Festival a couple of years ago. Not too far into a scorching solo the B-3 began to smoke, forcing Goldings to hand off the solo to a bandmate (guitarist Kurt Rosenwinkle or saxophonist Mark Turner, I think) until he was able to fiddle with the Hammond's innards and rectify the source of the plume!

Do have a similar electrifying anecdote, George?

[gcollme]

No, I can't say that I have had that happen with the organ. I've had embarrasing troubles from digital keyboards that were not receiving enough power from the outlet. One in particular would just play random notes every few seconds. People thought that I was doing it on purpose!
By the way, just to clarify, there are club gigs that pay more than 50 dollars, to be sure. If you play at the name clubs, Like Irridium, Sweet Rhythm, Vanguard, Smoke,Birdland,the Blue Note( actually I just did a door thing there, but if you are a headliner......)you make between 100 to 250 dollars a night. But the problem is there are no in between places, like what Visiones used to be. Or even Bradleys,( actually I think Bradleys used to pay about 1000 a week, maybe more, It's been a while. Sweet Basil's used to pay about 1200 a week, maybe a bit more, depending on the group.)There are places like Cornelia St, Tonic, Detour, Kavehaz, 55 bar, The Jazz Gallery, which are basically door gigs. Detour will give you 30 to 40 dollars FOR THE WHOLE BAND! and then you pass the hat like a panhandler for the rest. I've done it and it's pretty humiliating, especially after playing in big concert halls and signing autographs. The audience at Detour is usually indifferent, and when you go around to ask for money to pay the band, they look at you like you are crazy. And some great musicians play there regularly. Believe me.
And many of these lower tier clubs are hard to
get booked at, no, IMPOSSIBLE to get booked at! I tried for a long time to get my organ group at the 55 Bar, which pays nothing. I wanted to do it because I think it's in a great location for an audience. But I gave up. Especially since I know it doesn't pay.
I do play at the name clubs more than most of my friends. Even Fat Cat pays like 100 a man. But for me, I only make real money with record dates or tours. So I usually don't make playing in New York the biggest priority. I'm telling you, I don't know how people do it.
Just to change the subject for a minute, I guess we should all thank our lucky stars that we don't live in Iran. This last earthquake that
killed about 40,000 people is terrible, but I was reading that they have had about 6 or 7 major quakes since the 70's! I think this may explain why they would have a tendency towards fundamentalism. They must think GOD is Angry! Not to mention all the people that died in the Iran Iraq war in the 80's. Man, what that country has been through! I should be lucky to have 3 meals a day and an apartment--why am I bitching about gigs? Anyway, that's the kind of stuff I think about.
Oh, it's interesting to me also that during the World Cup Soccer in 1998, Iran kicked the U.S,. team's ASS! It's been an interesting time we have had with Iran over the years......
Comment about Matt Pierson( who I doubt will be on these boards) He is typical of people at record companies, he doesn't know anything about the music and makes his decisions based on that. It's even worse at VERVE. Ron Goldstien(I think his name is Goldstien) is dropping people right and left, and I know for a fact he doesn't even like jazz, he's an accountant for crying out loud. He was quoted in Billboard as saying" The biggest problem with Jazz is that there are no melodies being written. The last great melody in Jazz was TAKE FIVE by Dave Brubeck." I may not have the quote right but that's the gist. Any comments to THAT?
GC

[closer250]

Hi again, George!

I've gotta ask... Do you have any plans or is anything in the works of your performing live in Kansas City?

[relyles]

George - Just ordered the new disc from CD Baby. Can't wait to hear it and will let you know my reaction.

[steffi]

I thought the last great melody written was Blue Bossa....oh well, what do I know? Thank god for Nils Winther, huh?

[Tenorman]

Ehhhh George - I'm an accountant.~pimp:

But hey you are right there are far too many accountants who can't see past instant gratification.

A few years ago the manager of my local pub asked me if I would come along to a meeting he was having with a manager and an accountant about what he was spending on live gigs. He didn't tell them that I am an accountant - I was just introduced as the guy who organised the gigs.
Anyway I almost reduced their accountant to tears, proved his figures were wrong and generally made him look incompetent. It was good fun but not much of a challenge, since he was newly qualified and "Knew it all". Doncha just love them. The end result was that the budget was upped by 20%.

I think I just see why the London Jazz scene is taking off and New York is going down the pan. I struggle to get 1 gig a month at my local (it used to be 3 or 4 a month). We are about 6 miles from the centre of town. £120 for a duo is bare minimum. This is for 2 45-60Minute sets. I can't book innovative Jazz because it is not a Jazz venue, just a pub. It has to be vocalists + Keyboards or guitar. But hey it is better than nothing, and is one of hundreds of small venues around London that do a similar thing

[Saundra Hummer]

From what I've seen, living expenses in the big towns where there's the potential for lots of club dates, is terribly expensive. I know most of California is really high and I know New York city is outrageously high, so how is it that anyone can afford to have jazz as a full time profession? How many aspiring musicians have to work, or at least hold down another part time job, and how do you think that makes their music suffer as a result, that is if this is what someone is doing?

Also how in the world do the types of men that you have been mentioning ever get their jobs in the first place? Sounds ludicrous that someone not acquainted with music, or don't have a like for a certain type of music would ever be in charge of policy in the company, the selection of artists, songs, etc. Really doesn't make any sense to me. But here I sit in snow bound Central Oregon, so what do I know.

I know there are musicians unions, and I would think that a banding together to demand some changes with how they are featured would have a little influence, maybe get someone with some power in the business thinking that there might be a better way.

I know a lot of people are against unions, and I can really see why, but when we were invilved with non union employment, it often turned into a nightmare. We on the West Coast didn't get the union violence and corruption that was so blatent elsewhere, not that it was all above board, but we certainly benefited from union jobs. Maybe this is what musicians need. A strong inclusive union. Lots of members, and perhaps a little clout, not that there wouldn't be a lot of non union gigs out there to sabatoge your efforts. I don't know!! Talk about rambling!!!!! Going off on a tangent here. It is just so frustrating to hear all of what is happening and feel helpless as to what to do. I know this isn't a sensible solution, just wondering what can be done.

[gcollme]

I am actually pro labor and pro union, I think that workers need to be represented. Unfortunately, unions can be problematic. For example, I joined the Washington DC union, because they offered me some gigs at the Corcoran Gallery Concert hall with my trio. Then they would look for my name in the paper at local clubs and bill me for work dues. I saw this as kind of a scam. So I just stopped paying the yearly dues, and moved to New York. I have yet to have a reason to join the Union here, because they really have no interest in jazz club gigs. They are good if you do jingles or Broadway , or if you play in the Symphony.....but otherwise, they don't d anything with clubs. And I know because a friend of mine wnt to a meeting and asked what could be done about the club situation. " Don't play there!" was the answer. Thanks Local 802!
By the way, I am in no way anti accountant, I love my accountant and have been with him for I guess 8 years now. He does a great job, Douglas Tannenbaum. Oh yes, we need accountants. But maybe not as A&R for a record label, at least not Ron, I think he is a jerk, judging from what he is quoted as saying.
I don't have immediate plans to come to Kansas City, I have been there twice, once with Don Byron, and with someone else, I don't remember, maybe Vanessa Rubin.
I was in Manhattan <Kansas last Feb with Robin Eubanks. I would love to come back, any leads on how to do it.
OK Blue Bossa, greatest song ever written, even better than Freebird or even Duran Duran's The Reflex........ha ha, but why thanks for Niels Winther? Does he own the publishing on any of these tunes? I wouldn't be surprised......GC
:laugh:

[Saundra Hummer]

Getting the right people elected in unions is the key, but you know the type that run for office, so often times where union membership is concerned, you're damned if you do, and damned if you don't. Too bad really, as a good union could be a good thing, but it seems that there are too few good ones around any longer.

I would think that yearly dues would be sufficient until you reach a certain height with your income, then charge for each gig, if that is how it has to be done to keep the union afloat. However it sounds like the unions representing musicians needs some restructuring to fit into this day and age with it's special circumstances.

[savoy]

Hi George,
A friend of mine brought up a phrase the other day. We are not musicians, but have you ever heard of a term called "Paradittle" or "Paradittle Piano"? If you have, could you please shed some light on what it means. Thanks a lot.

[gcollme]

A Paradiddle is a percussionist's term, it describes the "sticking". The Para would be Left Right or the opposite, and the diddle would be Left Left, or the opposite. They usually alternate these things:
LRLL
RLRR
so on and on. Paradittle piano is a new one on me. Anybody out there know?
I think this message board is not supposed to last into the next month? Michael, does it shut off at the stroke of Midnight? If it doesn't continue here, maybe I'll start one at my website.
www.georgecolligan.com
I have to change my domain and I have been seriously procrastinating.
Any final thoughts or unfinished business before this column ends?
GC

[Tenorman]

George, all I can say is thank you very much for the time you have spent with us. Your thread is always going to be here (Brazilian Hackers permitting) so come back soon. All the best to you and your family for the coming year (and years)

Ian

[Saundra Hummer]

I agree with Ian, (aka Tenorrman), it has been fun having your input, and hope you stick around, lots of subjects to join in on, and you being the political animal you are, there are forums for that too. A good way to be heard around the world politically, and also a way to have people hear first hand about your gigs, recordings, and directions you plan on taking.

Really George, I've really enjoyed your visit here on this board, and hope you stick around as a member. We have loved hearing from you.

[gcollme]

ok, I'll stick around then.
Happy New Year!
George C:)

[Saundra Hummer]

Awonderful, Awonderful!

Happy New Year to You, and Yours!!!!!

[relyles]

Originally posted by gcollme
I think this message board is not supposed to last into the next month? Michael, does it shut off at the stroke of Midnight? ...Any final thoughts or unfinished business before this column ends?


Whats this all about?

[KolumBUZZ]

I think it should probably be George's decision...thanks for everything in any event.

[savoy]

Hi George, thanks for clearing that up for me, (the paradiddle question). I really appreciate your help.

[relyles]

Mad Science arrived today and I listened to it once while drivign around today. Need to listen to it a few more times before I can even begin to discuss the disc intelligibly, but my first reaction is definately a positive one. Both me and my amateur keyboard playing friend who was with me enjoyed the variety of grooves and the playing.

[gcollme]

Reyles, I got your package, thanks. Hope you like the CD.
I just got cable modem, doesn't make me type any faster!

[xpsax]

Hey man...
I have heard lots about you. Aren't you on MAD 6? Ravi Coltrane's last album. I think that was you..it was burning even if it wasn't you (hope it was you). How do you dig Queens in comparison to Brooklyn? I am a musician too in NYC. I moved to the city about 5 months ago. I am having a hard to just surviving. Paying my high rent...student loans plus all the other crap! How did you do it when you first move up? I go to sessions to meet cats but I can't always go out becuase of all the cover charges and drink minimums. I am meeting some cats and people are starting to call me for gigs (Kavehaz, Cleo's shit like that) but it takes alot of 20 dollar jazz gigs to pay the rent!
Do you ever run sessions at your pad? I would love to hang/talk/or play someday! You can ask Greg Tardy about Xavier the sax player. He will remember. Anyway... no pressure man. Happy new year and lotsof good stuff for the new year.:D

[relyles]

Originally posted by gcollme
Reyles, I got your package, thanks. Hope you like the CD.


Good. You are welcome. I do.

[Kerry]

If any of you haven't heard George's stunning flamenco-influenced album "Como La Vida Puede Ser" (Fresh Sound New Talent), you absolutely should check it out. George plays trumpet and synth on it as well as piano. My favorite tracks are the samba in 13/8 "Underdog" and "Sobre Como La Vida Puede Ser," a piece that grows and grows in intensity until you're just left floored at the end. The piece features passionate soloing by George and Perico Sambeat, and is enhanced by "palmas", or flamenco clapping. Guaranteed to knock your socks off! :)

[closer250]

Originally posted by gcollme
I don't have immediate plans to come to Kansas City, I have been there twice, once with Don Byron, and with someone else, I don't remember, maybe Vanessa Rubin.
I was in Manhattan <Kansas last Feb with Robin Eubanks. I would love to come back, any leads on how to do it.

Yes, I remember that both Don Byron and Venessa Rubin were at the GEM Theatre here a couple of years ago, but I missed both shows. Manhattan is in the middle of the state and a relatively long distance from the Kansas City area. Did you play the university there, perhaps? Dr. Wayne Goins heads the jazz studies at KSU and is also great guitarist. He plays quite a lot here in the city.

Anyway, there is a pretty cool listening room here in Kansas City called the Blue Room. It is actually a part of the American Jazz Museum organization and located in the 18th and Vine jazz district. It is just across the street from the GEM Theatre where you played with Don Byron and Vanessa Rubin.

Here is the website link and I think you talk with a man named Gerald Dunn. He books the talent at the Blue Room for them.

http://www.americanjazzmuseum.com

Hope that helps get your group here!

Peace, Cb

[steffi]

Hey, this is discussion board has gotten kind of dead...what's going on here? I notice many of these jazz discussion sites tend to get into a lot of pissing and moaning about the current state of the jazz scene today; no gigs, less radio play, low record sales, the general public's apathy, etc. I certainly think there's some truth to these observations and it's a topic worthy of discussion in a place like this. According to these same jazz sites, the reasons for these problems are a) lack of education in general, b) indifference on the part or record companies, c) shortened attention span due to the current pop culture, and several other similar reasons...all of which I think are valid points. Let me advance one other sure to be an unpopular idea: JAZZ DOESN'T DESERVE IT.

From the musicians to the so called jazz establishment of press and record companies, all are helping to sound the death knell of this music. For example: I've been in New York for a long time, and I've seen and known many of the current crop of musicians who are considered to be jazz stars. Many of these folks were certainly very talented, maybe not the most talented, but the one thing I do know is they were very ambitious. These were folks who wouldn't hesitate to tell you that they were going to be "jazz stars" and make lots of money, have their pictures on the covers of magazines etc....lo and behold ten years later you can't open the NY Times Arts section or Downbeat magazine without seeing their photos and reading their glowing reviews.
In interviews, they claim to be making music that innovatevly combines jazz tradition with new elements (hip-hop, indie rock, indian music, telephone converations, modern art, everything and the kitchen sink.) Now, I'm all for innovation, but to me (and this is purely subjective) the music just doesn't sound that good.

I don't mean to codemn all musicians. There are certainly many great musicians out there. I think the level of playing is certainly at it's most virtuosic now than it's ever been. People are playing more shit and harder music than ever before. When I go to hear one famous saxophonist, the audience consists of 80% drooling 20 year old conservatory students. I enjoy the music but it doesn't connect with me the way Stan Getz or Joe Henderson did, and I think that most people (who are non musicians) tend feel the same way.

I don't know if there's any solutions to these problems, and maybe there is no problem and I just have a jaded distorted view of things. One thing: I think musicians would do well to lose their agendas and just play. Don't play impressionistic hip hop on a canvas within the South Asian diaspora of a Radiohead song in a four part fugue with elements of German romanticism evoking new levels of cosmic energy in the garden of swing with strong doses of Bosnian folk music in a 60's Miles mode. I don't care how many pressures there are out there to put yourself in a box or categorize yourself into a neat ready to sell entity. Just play.

[Saundra Hummer]

It's like "Sex Appeal," some just try too hard.

[closer250]

Originally posted by steffi
Hey, this is discussion board has gotten kind of dead...what's going on here? I notice many of these jazz discussion sites tend to get into a lot of pissing and moaning about the current state of the jazz scene today; no gigs, less radio play, low record sales, the general public's apathy, etc. I certainly think there's some truth to these observations and it's a topic worthy of discussion in a place like this. According to these same jazz sites, the reasons for these problems are a) lack of education in general, b) indifference on the part or record companies, c) shortened attention span due to the current pop culture, and several other similar reasons...all of which I think are valid points. Let me advance one other sure to be an unpopular idea: JAZZ DOESN'T DESERVE IT.

From the musicians to the so called jazz establishment of press and record companies, all are helping to sound the death knell of this music. For example: I've been in New York for a long time, and I've seen and known many of the current crop of musicians who are considered to be jazz stars. Many of these folks were certainly very talented, maybe not the most talented, but the one thing I do know is they were very ambitious. These were folks who wouldn't hesitate to tell you that they were going to be "jazz stars" and make lots of money, have their pictures on the covers of magazines etc....lo and behold ten years later you can't open the NY Times Arts section or Downbeat magazine without seeing their photos and reading their glowing reviews.
In interviews, they claim to be making music that innovatevly combines jazz tradition with new elements (hip-hop, indie rock, indian music, telephone converations, modern art, everything and the kitchen sink.) Now, I'm all for innovation, but to me (and this is purely subjective) the music just doesn't sound that good.

I don't mean to codemn all musicians. There are certainly many great musicians out there. I think the level of playing is certainly at it's most virtuosic now than it's ever been. People are playing more shit and harder music than ever before. When I go to hear one famous saxophonist, the audience consists of 80% drooling 20 year old conservatory students. I enjoy the music but it doesn't connect with me the way Stan Getz or Joe Henderson did, and I think that most people (who are non musicians) tend feel the same way.

I don't know if there's any solutions to these problems, and maybe there is no problem and I just have a jaded distorted view of things. One thing: I think musicians would do well to lose their agendas and just play. Don't play impressionistic hip hop on a canvas within the South Asian diaspora of a Radiohead song in a four part fugue with elements of German romanticism evoking new levels of cosmic energy in the garden of swing with strong doses of Bosnian folk music in a 60's Miles mode. I don't care how many pressures there are out there to put yourself in a box or categorize yourself into a neat ready to sell entity. Just play.
This is probably one of the most thoughtful and refreshingly honest posts that I've read on a music discussion board - particularly on a Jazz site board. I'm not sure if it is all on topic here in the George Colligan Q&A thread though. But, still thanks for sharing your thoughts and opinions with regard to music, steffi!

My perspective on the paradigm you write about with regard to the "intellectual" approach that many musicians employ, is a result of their simply having emerged as artists during these times we live in -- more than anything else. That's the way so many jazz musicians are thinking about the music now, it seems.

I'm in my 40s and jazz had already moved from the type of nurturing and developemental environment of which the likes of a Stan Getz and Joe Henderson emerged, by the time I came of age... Many from my generation in the music stand in a "musical gap" between those "on-the-job-experience" times and the "established jazz education industry" that exists today. We had to glean where we could get it...

So, think about those musicians who are younger than me. It could be argued that the jazz conservatory has now become the model of musical and career development in this age. Much like the clubs and jam sessions were during the golden eras of modern jazz.

I have high school students whom I teach privately who have so much technical ability and knowledge that it can often get in the way of the music itself, in the sense that I believe you mean here. We are more efficient at learning/teaching phrases and sentences that are associated with the American Jazz Language. I see your point that sometimes it can be similar to reciting memorized facts from an encyclopedia and portending to have discovered them - in extreme cases. I don't worry about that from a musical perspective as a performer, instructor, and listener.

There have always been situations like this where people get so caught up in someone elses process that they lose sight of the music itself - which created the explorations that led to the process they so admire. That's why there aren't many Stan Getz's or Joe Henderson's - not to mention Charlie Parker and John Coltrane, among several others in this rare company.

You also allude to some who seem to be intent upon being the "next" innovator in this music. There are always people like that too. I just look at those who are/were and note that they are/were not "trying to be innovators", they are/were "just playing"... So, I don't worry too much about those types of artists either. Time will reveal the intent and merit of their efforts.

Last point and I'll stop:

From what I have heard in his music, George Colligan is indeed one of these among a refreshingly new generation of musicians who is doing what you say musicians should be doing.

He's playing the music.

I don't know George Colligan personally, only through listening to his music. That is all I need to know about him in this context.

From what I gather from the overall point of your post is the music is afterall the main barometer in the end...

In my opinion, George Colligan is one of these musicians who could reach you in the way you mention, and also reach those "80% conservatory student audience members" at the same time... Through the music.

Peace, Cb

[steffi]

I think my post was a little too harsh, anyways I've been reading previous comments (especially George's) about the difficulties of being a jazz musician these days and it got me to thinking....trying to compare today with another time is like comparing apples and oranges, the world changes and so do the environments that musicians come out of. Today musicians need to adapt to the commercial demands of the modern world, you can't really be like a Cotrane and "just play", you have to be able to market and commodify yourself. So in this respect, I think the people I was bad mouthing before are actually doing the right thing....
One more point, I notice that there's an IAJE convention coming up here, I won't be attending (I can't afford the membership fee.) Now, there's seems to be A LOT of money floating around in the jazz education circles, there's a lot of high school and college jazz programs, stage band festivals, etc. The major jazz schools have increased their tuition astronomically in the past 10-15 years. Doesn't it seem like there's a stark contrast between the money in jazz academia and the kid who just moved to NY doing $20 gigs? It seems like enrollment and interest in jazz education is increasing every year, what are these kids supposed to do when they graduate? Move to NY and do what?? Play weddings? There ain't even to much of those around anymore, since most people hire DJ's now. Broadway? Almost non existant, since most shows have cut down on the number of musicians and are trying to get rid of live music all together. With all this music education around, why is the public so ignorant about the arts (not just jazz) in general? What about health insurance? Job security? How can you invest in a 40-50k education and get so little training or practical knowledge in return? Why do people in jazz ed. seem so indifferent to these realities? Are they too busy collecting on mom and dad's checks? Or maybe if their students knew the truth, they wouldn't bother going to a jazz school.

[closer250]

Originally posted by steffi
Now, there's seems to be A LOT of money floating around in the jazz education circles, there's a lot of high school and college jazz programs, stage band festivals, etc. The major jazz schools have increased their tuition astronomically in the past 10-15 years. Doesn't it seem like there's a stark contrast between the money in jazz academia and the kid who just moved to NY doing $20 gigs? It seems like enrollment and interest in jazz education is increasing every year, what are these kids supposed to do when they graduate? Move to NY and do what?? Play weddings? There ain't even to much of those around anymore, since most people hire DJ's now. Broadway? Almost non existant, since most shows have cut down on the number of musicians and are trying to get rid of live music all together. With all this music education around, why is the public so ignorant about the arts (not just jazz) in general? What about health insurance? Job security? How can you invest in a 40-50k education and get so little training or practical knowledge in return? Why do people in jazz ed. seem so indifferent to these realities? Are they too busy collecting on mom and dad's checks? Or maybe if their students knew the truth, they wouldn't bother going to a jazz school.
Hmmm, again, I think that the subject of education could be another entire topic in itself. Much less when it comes to relating it to follow-up careers in music. There's really not that much money in jazz education or doing clinics, unless you are a full-time salaried classroom teacher. Then we could talk about the budget cuts in education as well...

And then, I think a certain edge is lost in the music if you are a full-time educator because of the administrative time it consumes to be a good teacher in that context. That's why there are education music majors and performance music majors. One is primarily an educator and one is primarily an artist. I think both professions are equally important to the field!

Some artists can pull off being both, artist and educator with fluid success. I recently had a chance to really discuss this with Bobby Watson, which led to an article and interview here at AAJ. I don't want this to come off as a "shameless plug" - but, check it out if you get a chance at the link below...

Anyway, we are fortunate in jazz to now have many artist/educators who are actively involved in teaching the music at these institutions. Many of the schools also offer courses in the business of music and stress how to make a living after a student leaves school - see www.Berklee.edu as an example...

This is all still relatively new in the sense of impact upon society as a whole. As you know paradigms and ways of thinking take years to change - often a generation or two. Those of us working today may not see that type of culturally informed elevation in the public's mindset where music is concerned during our active careers or lifetimes though.

Another consideration is the fact that there are so many forms of entertainment that compete for the same expendable consumer dollar in our times. Major businesses in the music industry have to go where they think that they will profit from the entertainment that is offered. If the consumer demanded live jazz music, they'd get live jazz music.

I think that we live in an exciting time today. So many of the musicians that I hear making records now are addressing the music with respect to the tradition at such a high level. Many are also finding ways to bring it back down to earth to the average listener again too - without losing the artist motivation or complexity of the inherent nature of jazz...

Just my thoughts... I could be wrong... :D

[steffi]

Closer- Thanks for your thoughts....who have you been listening to lately? Are you from KC? I met an alto player from KC once who sounded dead like E. Dolphy, unfortunately I can't remember his name. He was playing in a blues band with Kevin Mahoganey about 12 years ago....

[closer250]

Originally posted by steffi
Closer- Thanks for your thoughts....who have you been listening to lately? Are you from KC? I met an alto player from KC once who sounded dead like E. Dolphy, unfortunately I can't remember his name. He was playing in a blues band with Kevin Mahoganey about 12 years ago....
Yes, I'm from KC. I've only been back home to the KC area since 2001. So, I'm just getting to know the playing of a lot of the musicians who have already been here a long time.

However, I've heard most all of the saxophone players who are actively playing in KC, and you are probably talking about Charles Perkins. Some of the guys here were saying that when he lived in NYC for a few years, people used to say that he sounded like "Eric Dolphy" a lot...

I've only heard Charles Perkins play a couple of times since being back here and one time was with Bobby Watson's big band this past October. He had a pretty long improv solo on one of Bobby Watson's original tunes ("In Case You Missed It"), but it was still really difficult to guage his style and approach in that type of context. I'd have to hear him in a smaller group setting to understand his concept better. Charles Perkins is indeed a very fine player and you can hear that he has paid a lot of dues to get where he is musically.

KC seems to be sort of a "sleeper" in the jazz world from what I have observed since returning. Yes, most everyone still recognizes and associates the city as significant, mainly with regard to the Charlie Parker and Basie's Band legacies. But, I don't think most people realize the level of music that is going on here right now.

There are several pretty fine saxophone players here - Bobby Watson of course, but some others who are lesser known outside of the region too... I'm having a ball. Like everywhere though, there always seems to be more musicians than places to play. But, overall there are enough things to keep me as busy as I want to be and still leave time to compose and work with kids in my private teaching practice.

The "cat" in KC, that nobody knows about, but should in my opinion is Alaadeen. http://www.Alaadeen.com - he just played with T. S. Monk yesterday and "turned it out"... Those "cats" know about him - but the general public doesn't... He just chose to stay in KC. He's figured out how to "play yourself" not other people. Most all of the saxophonists who have come out of here in the last decade or so have studied with him (to include Charles Perkins, among many others to include yours truly).

As far as listening goes...

I've honestly really been into Andrew Hill a lot lately. I saw him live at the Iowa City Jazz Festival this past summer - it was awesome. I listen to a diverse range of music though. If you follow the column link below, you'll find a list of CDs that I'm going through right now... One thing not on the list though, is the Coltrane/Johnny Hartman "Ballads" CD that I just started to get into again - it's in one of the slots in the car all of the time...

[basscheck]

George,
I'm guessing this is a redundant thread as the last post is almost a year old. Nevertheless, this is Tom the bassplayer from the UK with whom you played that week in CA with Robin back in 2001. Justed wanted to say hi. Happy 2005 to all at Talkjazz!

Tom