I don't expect to hear much about this. I just wanted to show other Jazz I like besides the great "Funk Jazz" Chas posted.

http://www.youtube.com/watch?v=9G0-U8DPxY8

http://www.youtube.com/watch?v=DCLJuD6cH-k&feature=relmfu

Great. Love Dex. I grew up on this stuff and love it but I also understand why those that didn't have a difficult time with it. Was never into Coleman Hawkins or the pre-bop guys, but I worshiped 'the Pres' (Lester Young), Lady Day (given that name by 'prez' - but then you knew that, Boo ), Getz (he's the reason I play 'Dear old Stockholm' on almost every gig), and all the other greats of the Bebop era. Sadly, we lost so many of them to Alcoholism and Drug addition. One of the hazzards of being a creative genius and not getting paid or recognized for it, I guess. There will always be those who put it down because they either don't or can't 'get it', but for those that do, the rewards are priceless.

chas

Two different but equally historic/cool styles.

The Hammond stuff happens in part because of the possibility of playing the traditional left handed walking bass. Structure complexity is less important than the "groove". Wonderful stuff to play.

The work of Dexter and the others is deep, involved structure and feeling. Endless possibilities for chord inversions, variations on lead lines and more.

Sadly, Chas is right. The geniuses of the past lived miserable lives, including the fabulous "lady Day" (she is still living).

That's because making a living was such a precarious process. The better you got, the harder work was to find. You played yourself out of a job.

Alternatives were to sell out and play "crap" or starve.

Players incorrectly blamed the public for not a appreciating their work and turned to booze and much worse. Many died unappreciated paupers.

It's a sad but glorious art form. The B-3 stuff was less precarious because, for the players and for the general public, it was FUN!

I'm so lucky that I was around and Ray Brown and Herb Ellis introduced me to this music and the players, but protected me from the hazards.

Don't have it in front of me, but Chas and I shared what is supposed to be the definitive book on music of this type.If interested, email me and I'll supply the title.

Studying the Be Bop era, what preceded and followed it, musically and learning about the players and appreciating this truly unique American art form is a must for serious musicians.


Russ

No doubt the 'darkest' autobiography I have ever read is "Straight Life" the autobiography of Art Pepper ... robbing gas stations for drug money while having one of the top jazz albums of that time ... pity ...

You're right, Tony...sad beyond words...


R.

Why be sad? It was their choices to get high?
We all have choices ..........they unfortunatly they made bad ones good musos or not!......and the fans take the loss .

Classic record company rip-off?

124 Just as you said. Two friends of mine Henry Schroeder (wrote the song) and Stark Whiteman (who I gigged with) have never to this day received a cent from this tune, "Graduation Day."

It has become a New Orleans standard. It is played over and over again every year in the spring before and after graduation since 1958 or so. It's a known fact by all of the old R&R musicians in New Orleans.

It was the typical "Agent" and "Record Company" in those days. I'm the type that might have stayed away from the drugs. but would have went to prison for killing the people involve with my bare hands. How people tolerate being screwed like that is beyond my comprehension.

Donny,

I told you once, your were never mentioned in dispatches, you are like me not jazzy enough.