[Dixielandjazz] More from the Central Plaza

[Marek Boym]

Jon Faddis, Tom?  In the '60's?  He only graduated in 1971!
At the peril of losing my mouldy status I must say that he is a
wonderful musician.  A bit on the modern side as far as I am
concerned, but wonderful!  And one who did, in a way. what Lu Watters
had done before him - went back to the roots!  That is, not the roots
of jazz, but the roots of modern.  At a time when everybody tried to
be a Miles Davis, Faddis discovered Dizzy Gillespie, and took it from
there.  He started young.  And indeed moved to New York at an early
age.
I saw him in 1977 (I think) in Nice, playing with Gillespie, but,
perhaps more significant for OKOM fans, he subbed for the ailing
Clarence "Gatemouth" Brown with Lloye Glenn, and played fantastic -
and very traditional - blues.  Wow!
Often, his playing with the Carnegie Hall Jazz Band is quite
"conservative" (for lack of a better term - I don't think he can be
described as "traditional"), and would not offend the ears of most
listmates.  Actually, I have never heard him playing "modern" in the
meaning of, say, Freddie Hubbard or Roy Hargrove.  No Dixielander for
sure, but, at least to my ears, always melodic and playing with that
elusive quality called "hot."
Cheers

On 10 June 2012 05:23, Dixiejazzdata <dixiejazzdata at aol.com> wrote:
> I Recall clearly how the Jazz scene in San Francisco began to evaporate in the 60's and many of our great local players migrated to New York
> to play Jazz,   Guys like John Fadis actually came into his own there, and did very well, far better than he could ever have done in Oakland, Ca. some other very fine Jazz players of his same age and skill bracket are still here playing two or three nights a week in the same restaurants and dive Bars John Left for greener pastures.    Some have since died after holding out for teaching jobs rather then the life of a Touring musician.  Several of them that I attempted to tour in their prime and early careers when somebody knew of them and actually would pay for them.  They refused to go, and opted to stay here with a steady teaching gig, then came to me 30 years later after they retired and boldly announced that NOW they were ready to go on tour and wanted me to book them on all the Big Jazz Festivals around the world.   So sad as I watched them sitting around locally playing small bars for $60.00 a night, dying of strokes and heart attacks still dreaming of being a Star performer.
>
> Time waits for No Man !!   Opportunity knocks every day  but if you don't get up and answer the door nothing changes.
>
> These are the same folks always screaming about SUPPORT LOCAL MUSICIANS and who get upset when Local Festivals bring in outside artists and bands that are not over exposed to the local market to sell tickets to the events and keep them in business so they can actually hire some of the locals and give them a larger audience to play to.
>
> Cheers,
>
> Tom Wiggins
>
>
>
>
>
>
>
> -----Original Message-----
> From: M J (Mike) Logsdon <mjl at ix.netcom.com>
> To: B.B. Buffington <dixiejazzdata at aol.com>
> Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
> Sent: Sat, Jun 9, 2012 2:45 pm
> Subject: Re: [Dixielandjazz] More from the Central Plaza
>
>
> Steve:
>
> Since during the early days of R&R New York was a jazz Mecca for youth, first,
> what would you say was the impetus, and second, would you say that New York in
> the 50s is equivalent to San Francisco and environs in the 40s (via Watters)?
>
> Sent from my cOmputer
>
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