Jul 26, 2023·edited Jul 26, 2023Liked by Burning Ambulance
It's a much longer story but I had the chance to bring lockjaw to kansas city to play with Jay mcshann in 5/80: he was a terrific guy in our limited interactions and he played fantastically that day. I'm on the run right now but I'll add a link to some photos later.
ETA: not my pictures, just stumbled across them once, but "my" show, lockjaw, mcshann, big joe turner, and claude "fiddler" williams: https://www.wakeisland1975.com/jazz80-3.htm
Great pics! Wow! (Coincidentally, was just listening to one of McShann’s Sackville albums this afternoon.)
Re: Lockjaw: co-sign! Completely in agreement.
Re: Porter, I also really appreciate the book for as a corrective. I pick it up and put it down though, the prose is very “then he recorded this, then he recorded that.” Absolutely the book overall is an intervention, an argument for how to think about jazz history.
I've managed to work a Jay McShann story into the Cecil Taylor book. Short version: the Montreux performance released as Silent Tongues was part of a whole day of solo piano sets at Montreux, and the other performers were Earl "Fatha" Hines, McShann, and Roland Hanna (pre-knighthood).
i got to know jay quite a bit, wonderful guy, went to the umkc conservatory in the '50s in order to up his game, the most wonderful mobile face (you get some good looks at it in the "last of the blue devils" documentary.
It's a much longer story but I had the chance to bring lockjaw to kansas city to play with Jay mcshann in 5/80: he was a terrific guy in our limited interactions and he played fantastically that day. I'm on the run right now but I'll add a link to some photos later.
ETA: not my pictures, just stumbled across them once, but "my" show, lockjaw, mcshann, big joe turner, and claude "fiddler" williams: https://www.wakeisland1975.com/jazz80-3.htm
Great pics! Wow! (Coincidentally, was just listening to one of McShann’s Sackville albums this afternoon.)
Re: Lockjaw: co-sign! Completely in agreement.
Re: Porter, I also really appreciate the book for as a corrective. I pick it up and put it down though, the prose is very “then he recorded this, then he recorded that.” Absolutely the book overall is an intervention, an argument for how to think about jazz history.
I've managed to work a Jay McShann story into the Cecil Taylor book. Short version: the Montreux performance released as Silent Tongues was part of a whole day of solo piano sets at Montreux, and the other performers were Earl "Fatha" Hines, McShann, and Roland Hanna (pre-knighthood).
ha! fantastic to imagine!
i got to know jay quite a bit, wonderful guy, went to the umkc conservatory in the '50s in order to up his game, the most wonderful mobile face (you get some good looks at it in the "last of the blue devils" documentary.