[JPL] Get Out'Tha Ghetto!
pgsaxo at pacbell.net
Wed Aug 13 17:18:50 EDT 2008
Your post is right on, Jae. I talked with Alice and Ravi about this, and the teeth issues was much more of an issue for Coltrane than the mouthpiece thing, which Trane mentioned in an interview around the time Ballads was made (as usual, the public didn't quite know what to make of that record..."why is he doing THAT?"...as if the obvious outcome - the record itself - didn't warrant a good enough answer to that inane question!).
Further, as a saxophonist, I findi it a little offensive that classical musicians just don't get that intonation is something that jazz musicians PLAY with, along with rhythm, melody, harmony, etc. etc. etc. - it's part of our sound concept to work with intonation. So no, we're never going to be "in tune" all the time (if your conception of intonation is doggedly chained to the western tuning system).
This is something we discussed a few months ago and at the time, I talked about how saxophonist in the jazz and post-jazz continuum have control over intonation, we just use it differently than classical players do....in short, there's a lot more freedom of expression in this case (IMO).
Jae Sinnett <jaejazz at yahoo.com> wrote:
This week's sponsor: Lisa Hilton
Composer/pianist Lisa Hilton's latest release, ''Sunny Day Theory'' heads to jazz radio next week. Hilton is joined by top talent Lewis Nash on drums, Larry Grenadier on bass and Brice Winston on tenor sax. Eighteen time Grammy winner, Al Schmitt recorded and mixed the 12 track release.
What is the ''Sunny Day Theory''? Hilton smiles, "My engineer Larry Mah made me laugh recounting a 'Foggy Day Theory', so I countered with a 'Sunny Day Theory' which basically assumes that difficulties, if embraced honestly, create opportunity for growth. Life can be challenging: I've realized after a rough year that the complex can be dealt with one step at a time, that there can be depth in something as simple as a melody, beauty within the blues, and that with tomorrow there is always the hope for a sunny day.''
''Sunny Day Theory''/Ruby Slippers Productions promotion by Jane Dashow/Jazzzdog.com
The mouth piece thing always puzzled me...why didn't he try another one? Perhaps he did but it seems to me saxophonists have more problems with their reeds than the mouthpiece. It's really a combination of things. I'm not sure I would say that was the sole issue with him even though he talked about it. What I do know is that Trane had terrible teeth and was terrified of the dentist. In fact Miles discouraged him from going...even going as far as saying something to him that implied "they" don't look out for "our" best interest...all with the point of making him afraid of going. Funny really but consider that major dental work can affect your embouchure and this was the reason Miles didn't want him to go. He thought it would change Trane's sound. It's an intriguing thought. Eventually Trane did go and had major work done and now one could debate if that had an affect on the way he played.
--- On Wed, 8/13/08, Eric Jackson wrote:
> From: Eric Jackson
> Subject: Re: [JPL] Get Out'Tha Ghetto!
> To: jazzproglist at jazzweek.com
> Date: Wednesday, August 13, 2008, 11:42 AM
> This week's sponsor: Lisa Hilton
> Composer/pianist Lisa Hilton's latest release,
> ''Sunny Day Theory'' heads to jazz radio
> next week. Hilton is joined by top talent Lewis Nash on
> drums, Larry Grenadier on bass and Brice Winston on tenor
> sax. Eighteen time Grammy winner, Al Schmitt recorded and
> mixed the 12 track release.
> What is the ''Sunny Day Theory''? Hilton
> smiles, "My engineer Larry Mah made me laugh
> recounting a 'Foggy Day Theory', so I countered with
> a 'Sunny Day Theory' which basically assumes that
> difficulties, if embraced honestly, create opportunity for
> growth. Life can be challenging: I've realized after a
> rough year that the complex can be dealt with one step at a
> time, that there can be depth in something as simple as a
> melody, beauty within the blues, and that with tomorrow
> there is always the hope for a sunny day.''
> ''Sunny Day Theory''/Ruby Slippers
> Productions promotion by Jane Dashow/Jazzzdog.com
> Eric Hines wrote:
> > I thought I remembered reading that Coltrane had
> serious, prolonged
> > problems after he lost a favorite mouthpiece.
> I'm not sure that I've ever heard the problems with
> the mouth piece
> described as prolonged before so I'm not exactly sure
> what that means.
> I always heard that it was because of mouthpiece problems
> that Trane
> recorded a string of what some might consider mellower
> Supposedly he wasn't comfortable playing uptempo or
> more energetically.
> I think I've even repeated that story myself.
> Evidence would suggest that if this story is true, it was
> only a problem
> for a short time. I have a pretty extensive Coltrane
> including a number of imports and small label releases. I
> have a
> discography of my personal Coltrane collection.
> In September of 1962, Coltrane recorded the music that was
> released as
> Ballads. He also recorded the date with Duke that same
> I have a live concert from him called the Complete Graz
> Concert '62 that
> was recorded in November of 1962. Trane played Autumn
> Leaves, Bye Bye
> Blackbird, Everytime We Say Goodbye, I Want To Talk About
> Impressions, Mr. P.C., My Favorite Things and Inch Worm. He
> didn't seem
> to be shying away from uptempo or energetic pieces there.
> The versions
> of Traneing In and Bye Bye Blackbird that were released on
> Bye Bye
> Blackbird are also from the fall of 1962.
> The Coltrane Hartman sessions were in March of 1963. At the
> end of April
> 1963 Trane recorded After The Rain and Dear Old Stockholm.
> In July of
> '63 he played Newport where he recorded I Want To Talk
> About You,
> Impressions and My Favorite Things.
> It would seem to me if the story about the mouthpiece
> problems were true
> and they were extensive they didn't seem to make him
> play those mellower
> pieces for very long. Let me say I do believe the stories
> about the
> mouthpiece problems are true. I just don't know how
> extensive they were
> nor how much, if at all, they affected what he chose to
> Eric Jackson
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