[Dixielandjazz] Multiple choruses - was notes

[LARRY'S Signs and Large Format Printing]

snip:
Producer George Wein asked him to calm things down fearing a riot. Ellington
laughed and said "Don't be rude to the artists, George." But then he took a
piano interlude after Gonsalves and did indeed calm things down. The episode
was pure magic at the time and you can hear it on the album. Today's jazz
performers don't that kind of audience reaction anymore, rock bands do.

They are too old to riot!
Larry
----- Original Message ----- 
From: "Steve barbone" <barbonestreet at earthlink.net>
To: <dixielandjazz at ml.islandnet.com>
Sent: Tuesday, April 05, 2005 8:17 PM
Subject: [Dixielandjazz] Multiple choruses - was notes


> "LARRY at <sign.guy at charter.net> wrote (polite snip)
>
> > I think everyone agrees more or less with the idea it's what you do with
the
> > notes that counts but there are limits.  I would have a problem with
anyone
> > who would take 17 choruses on a tune.
>
> Others do also. Even that fast fingered, many note, master bopster Charlie
> Parker was quoted as saying: "Any more than 4 choruses and you are just
> practicing."
>
> Perhaps guys like Rollins and Trane could keep going as infinitum because
> they were so heavily practiced on scales and chord permutations. What we
> call ideas may well have been practiced as patterns for 8 to 12 hours a
day
> for many years.
>
> Rollins was quoted as saying something like: "The only trouble with gigs
is
> that they get in the way of my practice."
>
> And Miles who said to Trane after Trane told him he was having trouble
> figuring out how to end his solos. "Just take the f****** horn out of your
> mouth."
>
> And yet, sometimes extended solos work beautifully. E.G. Paul Gonsalves 27
> chorus Tenor Sax solo on Diminuendo & Crescendo in Blue with Ellington at
> Newport in 56 or so. He did repeat ideas, but nobody there cared because a
> very sexy blond got up and gyrated through about 25 of them much to his
and
> the  audience's delight. The audience went crazy and it became the
defining
> moment in the resuscitation of Ellington's flagging career.
>
> Producer George Wein asked him to calm things down fearing a riot.
Ellington
> laughed and said "Don't be rude to the artists, George." But then he took
a
> piano interlude after Gonsalves and did indeed calm things down. The
episode
> was pure magic at the time and you can hear it on the album. Today's jazz
> performers don't that kind of audience reaction anymore, rock bands do.
>
> Cheers,
> Steve Barbone
>
>
>
>
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