[JPL] Teo Macero, RIP

OntheBeach at aol.com OntheBeach at aol.com
Fri Feb 22 15:08:25 EST 2008

Teo was a quiet genius.  A sweet, warm cat.  I'm so happy to have known him 
and to have received some pearls from a man that has had such a profound 
influence on modern music.
His influence on the art of recording would be difficult to measure.  He will 
be missed.
I'm interested to check the interviews BJAX has been kind enough to share, as 
i'm curious to hear what justification Bob Belden(who i have much respect 
for) could possibly have in excluding Teo from the boxed sets of Miles' music 
which HE played such a large role in creating.  {using razor blades, no less!}
As a modest tribute to Teo's memory, i'd like to suggest/initiate a thread 
regarding reissues:
particularly focused on the "everything INCLUDING the kitchen sink" approach 
that has become increasingly popular{profitable/sic}.
This can also address the various re-mix projects.  I have to admit-- despite 
being involved in what i believe were the first two jazz recordings to 
incorporate beats and dj's (anyone weigh in please about any others) Onaje Allan 
Gumbs and Michael Paulo, i was slow to warm to the re-mixes [ironic, i know].  i 
did in fact warm to them (and heartily recommend "Re-Bop:
The Savoy Remixes") and find some of them to be wonderful--and others to be 
quite vapid.
And it can also include manufactured "duets".
in both instances, make that all three, the absence of one artist (or at 
least their producer)
places a greater burden on the new work's credibility.  where tommy lipuma 
and al schmidt
deserve credit for the wonderful natalie cole/nat king cole duet, it remains 
in my mind a singular work.  while it has spurred innumerable knock-offs, none 
have the credibility of that one: natalie was family, the daughter.  no doubt 
nat was smiling when they made this one.
since then, too many artists have given themselves license to paste together 
duets.  while the kenny g/louis armstrong recording will forever be the worst 
offender {and i heard a report about a video used at his live concerts that 
takes it to an even more absurd/disrespectful level}, even tony bennet should be 
questioned for splicing himself into billie holiday.
yes, it may represent a new "art" form, or more correctly engineering feat 
but where is the credibility? im not a musician, but i can imagine/fantasize 
about being in miles' band, "jamming" with hendrix, comping for betty carter etc 
etc...but PLEASE!
i offer this to make a point: collaborative art can be incredible, and 
collaboration has birthed some of the most wonderful artistic expression; but it 
takes two to collaborate.  one artist and their producer assuming some great 
legend would sanction their idea does not inmy mind venerate it.
does this represent a loss of respect for the artistic process, a re-defining 
of "integrity"?
the everything-recorded-at-the-sessions box sets along with the single albums 
with 5 versions of a tune(sequenced one after the other no less!) are another 
example.  where the artist, and or producer or both decided certain takes 
were NOT what,they wanted released,  
one questions a third party-no matter how well intentioned or scholarly and 
passionate-digging through vaults and determining EVERYTHING will be brought to 
public view.
thinking of Teo, it must have been heartbreaking to have been left out of the 
look forward to hearing folks weigh in on the above, and hope it is a 
deserving topic for discussion {note to ed: this might make an interesting and 
dynamic panel for JazzWeek,
let me know if it is interesting}.
thanks TEO, you rocked the world!
God Bless You
ricky schultz
_www.jazzconsultant.com_ (http://www.jazzconsultant.com) 

**************Ideas to please picky eaters. Watch video on AOL Living.      

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