Wow, this is insightful, as you mention, seeing and hearing him speak. So cool. I watched it three times. I noticed that as he's briefly interviewed he's really checking his horn. He adjusts his neck of the horn, neckstrap, and then runs his left hand over the palm keys (high notes) and right hand over his G# key and two or three others to make sure they aren't sticking. Many sax players do this often. You can tell he does it so often that he doesn't even have to look for where the G# key is. After that he goes back to adjusting the neck, which he already did, I believe. He's excited, he wants to play, in my opinion.
Thanks Dr Porter for sharing. Happy 4th of July. Independence day with the independent saxophonist, Pres.
I've imbibed the performance that follows of "Mean To Me" many times, as well as other tunes from the same broadcast, digging the feeling between the musicians, digging Shavers and the Lion. This clip fills in a lot! I'd heard about Shavers' power, and it really shows in this show. One of Prez's things that I first fell in love with is one of Billie's 1937 takes of the tune (was it the second?). Not having lived around NYC, it's also great to get some background on Art Ford and his TV show.
Also, I never associated the Lion with these musicians. George Wein was always good at putting together bands with guys from different scenes. So was Joe Segal. I remember a Wein set from a festival at Soldier Field in the '60s that grouped mainstream players like Al Grey with an urban blues shouter that really came off nicely. That was the same night that I watched George crawl under the piano to give Trane the hook!
Great Memories, Jim! Yes, the rest of this will be in Part 2. That night at Soldier Field sounds amazing! Yes, I think you mentioned to me once that Wein had to go under the piano to get John's attention because of the way the stage was set up--something like that?
Yes, but it was more a matter of getting his attention without being too obvious to the audience. It was a typical setup for a band that size on an outdoor stage.
Wow, this is insightful, as you mention, seeing and hearing him speak. So cool. I watched it three times. I noticed that as he's briefly interviewed he's really checking his horn. He adjusts his neck of the horn, neckstrap, and then runs his left hand over the palm keys (high notes) and right hand over his G# key and two or three others to make sure they aren't sticking. Many sax players do this often. You can tell he does it so often that he doesn't even have to look for where the G# key is. After that he goes back to adjusting the neck, which he already did, I believe. He's excited, he wants to play, in my opinion.
Thanks Dr Porter for sharing. Happy 4th of July. Independence day with the independent saxophonist, Pres.
Great observation, Jeff! I just added it to the post, with credit to you. Thanks and have a great holiday!
Perfect timing, as I was just reading the chapter about him in But Beautiful yesterday
A lot of musicians love that book--Thanks David!
I've imbibed the performance that follows of "Mean To Me" many times, as well as other tunes from the same broadcast, digging the feeling between the musicians, digging Shavers and the Lion. This clip fills in a lot! I'd heard about Shavers' power, and it really shows in this show. One of Prez's things that I first fell in love with is one of Billie's 1937 takes of the tune (was it the second?). Not having lived around NYC, it's also great to get some background on Art Ford and his TV show.
Also, I never associated the Lion with these musicians. George Wein was always good at putting together bands with guys from different scenes. So was Joe Segal. I remember a Wein set from a festival at Soldier Field in the '60s that grouped mainstream players like Al Grey with an urban blues shouter that really came off nicely. That was the same night that I watched George crawl under the piano to give Trane the hook!
Great Memories, Jim! Yes, the rest of this will be in Part 2. That night at Soldier Field sounds amazing! Yes, I think you mentioned to me once that Wein had to go under the piano to get John's attention because of the way the stage was set up--something like that?
Yes, but it was more a matter of getting his attention without being too obvious to the audience. It was a typical setup for a band that size on an outdoor stage.
I see--THANKS JIM!