<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> </head> <body><div class="auto-created-dir-div" dir="auto" style="unicode-bidi: embed;"><style>p{margin:0}</style><p>BBC Sautland Philisterchronic (not to be confused with any musical organsation). </p><p><br></p><p>A bit of fun for me, sending the note below answering a berk called Becket who seems to approve removing jazz from BBC Scotland. (More and very Scottish necks are on the block of the verdigris-collar gang).I wonder what would have been the result of mentioning to band members the fact that the grandson Ellington band in the Pavilion Theatre in Glasgow (Hodges replaced by the same young man who was the Cannonball in Nat Adderley's ensemble in the fruitmarket) had in me and some others been at the Odeon hearing the then very new FAR EAST SUITE in 1967. The same scores turned up in the Pavilion. </p><p><br></p><p>In 1967 we had Cootie Williams in "The Shepherd" (Ellington's announcement of the number had me thinking the item was called "Night Flock". Unlike in reviewed performances down south Cootie was on splendid form, and Russell Procope! Paul Gonsalves alas made me think of Ornette Coleman with one of the varitones being used at that time, taking the music an octave down (I last heard of that contraption from Lol Coxhill, wandering Greenwich Market unaccompanied, except for the four man audience in the rain, and pausing to rearrange the variously coloured rubber bands on the soprano he was trying to earn enough money to render playable without them -- latterly he'd been baritoning using a tenor and varitone in the then current Glenn Miller ghost band!). I first met Lol in Portobello Town Hall (Edinburgh) in 1969 with Otis Spann -- who plays piano and sings on the link below (above my little rejoinder) -- in 1960 there had been some sort of riot threatening the Newport festival's future and Langston Hughes wrote the lyric. I remember Stephane Grappelli in Glasgow Theatre Royal cheering on opponents of earlier plug-pulling (Chamber Orchestra?) at Queen Margaret Drive! </p><p><span style="color: rgb(118, 165, 175);"><br></span></p><p><a href="https://www.youtube.com/watch?v=_3_7J1DokkI" style="color: rgb(118, 165, 175);">(30) Goodbye Newport Blues (Live At Newport Jazz Festival/1960) - YouTube</a><br></p><p><br></p><p>ciao!</p><p>Roberto </p><p><span style="font-size: x-large;"><br></span></p><p><span style="font-weight: bold; text-decoration: underline; color: rgb(255, 0, 0); font-size: x-large;">MY REJOINDER (TAKE 2)</span></p><p><span style="font-size: x-large;">I was trying to reply when an ad from some Yahoo company (cf. Gulliver's TRAVELS) gazumped my intended rejoinder. The phrase "dreadful row" in no wise represents anything in the music of for instance Johnny Hodges or Billy Strayhorn, whether it is of any interest to Billy Boy it seems. It might leave Father William cold, but a centenary concert organised and performed by Prof. Robert Watson as part of an official (not merely jazz) Edinburgh Festival some fifteen years ago marked also the fortieth anniversary of Hodges' final performance in Scotland, but only in Glasgow. It had been intended to bring Hodges and his fellow sexagenarians in the Duke Ellington Orchestra to the Usher Hall, but the Headinburrow management jacked up the hall fees ruling that out, all because of damage sustained by the building (1966?) during a concert or two by an ensemble some Edinburgers seemed to relate promiscuously with Ellington, who did perform again only half a dozen years later, by which time Hodges was dead, although there was Joe Temperley, probably more a hero of New York than of his native Kelty, with a Lincoln Center Orchestra playing "Single Petal of a Rose" on bass clarinet, Joe deputy and eventual successor to Ellington's longtime baritone saxophonist, who was in the Usher Hall in the early 1970s. The ensemble Edinburgh authorities confused with the it seems posthumously rehabilitated Hodges and his colleague Strayhorn proved more lucrative. Does citizen Becket like the Beatles? Or is his reference to "dreadful row" a learned allusion to the twelve-tone row (rhyming rather with dough than dhow) of Arnold Schoenberg? </span></p><div style="-webkit-font-smoothing: auto; margin: 0px; padding: 0px; border: 0px; vertical-align: baseline; list-style: none;"><span style="font-size: x-large;">RRC.</span></div><div style="-webkit-font-smoothing: auto; margin: 0px; padding: 0px; border: 0px; vertical-align: baseline; list-style: none;"><br style="-webkit-font-smoothing: auto; margin: 0px; padding: 0px; border: 0px; vertical-align: baseline; list-style: none; color: rgb(43, 43, 43); font-family: "Segoe UI", "Segoe WP", -apple-system, BlinkMacSystemFont, Roboto, "Helvetica Neue", Arial, sans-serif; font-size: 16px;"></div></div></body></html>