Dave navarro and sal masekela dating
’ She told the guy, ‘Let him take it home and practice on it.’ She was a very strong lady; they KNEW that they would eventually get their money. When they played the Harmon mute, I threw mine away. Dizzy was also the most beautiful person I ever met. He bought me my first winter coat when I came to the States. He had Leo Wright and Chris White and Rudy Collins and Lalo Schiffrin on piano. A fantastic lower register technique, a beautiful tone, but it didn’t go anywhere, didn’t take me anywhere. Leave a comment Filed under Blindfold Test, Down Beat, trumpet Tagged as Blindfold Test, Booker Little, Brecker Brothers, Charles Tolliver, Dizzy Gillespie, Down Beat, Dudu Pukwana, Hugh Masekela, Jerry Gonzalez, Max Roach, Mongezi Feza, Wynton Marsalis Blindfold Test—maybe 1998 or 1999. Steve Coleman & Council of Balance, “Day One,” , RCA, 1997. I’ll take a guess on that one, and I think that might be Lewis Nash playing drums, with Tommy Flanagan, and maybe Peter Washington on bass. And of course, he’s coming up with some great inventions in the traditional style of jazz. It reminded me of some kind of organic mass which was percolating over some kind of heat, maybe like before a volcano erupts.
While I was going to Jordan Conservatory, Spaulding and Larry Ridley and I formed a group called the Jazz Contemporaries. It was like “The Blackboard Jungle.” I’d never seen so many brothers and different people in the street. I stopped playing the mute when I heard Dizzy and Miles play. He sent me records in South Africa long before I came. The first night I came to New York, Dizzy was playing at the Jazz Gallery, opposite Monk, and he had insisted that as soon as I land I have to call him and come see him wherever he was—and he happened to be at the Jazz Gallery. They’d just come back from South America, and he was playing “Desafinado” and “Con Alma” and all those Brazilian songs. So I went to the Half Note, and I stayed there til 4 in the morning. Jon Hassell, “Northline” (#9) (from LAST NIGHT THE MOON CAME DROPPING ITS CLOTHES IN THE STREET, ECM, 2009) (Hassell, trumpet; Peter Freeman, bass; Jan Bang, live sampling; Elvind Aarset, guitar; Helge Norbakken, drums) I don’t know who it is. It sounded like a soundtrack, an effect for something. In any event, his responses were incisive, on-point, and thought-provoking. “Day One” (1997), with Miguel “Anga” Diaz and George Lewis. [No.] This is a person to me who if it’s not Max Roach, has been listening to Max Roach. I would say all of the great brush players like Kenny Clarke and Ed Thigpen and Philly Joe would have to give kudos to that playing. Because I could hear it, that Lewis is working very hard on the drums to make sure that we all remember from whence we came and what’s happening on the contemporary scene, I’d have to give him five stars for that. Tony Williams, “” (#1), Live In Tokyo, Blue Note, 1992. It sounds like these guys have been playing with each other for a while.
Then I started listening to Fat Girl (Fats Navarro) and Dizzy, which was quite a contrast. Clifford was a conservatory type of cat, and I tried to play like him.
* * * During his lengthy prime, Freddie Hubbard embodied excellence in trumpet playing.
He had a big sound, dark and warm, almost operatic.
I’d sit with James Spaulding, who lived up the street, and transcribe Clifford’s solos and play Charlie Parker’s tunes. It was a filler job for guys on their way to Chicago.
Charlie Parker might come through, or James Moody, or Kenny Dorham. I’m surprised, because Tony usually plays with a lot more rhythmical complexity. Evan Parker-Barry Guy-Paul Lytton, “The Echoing Border Zones”, , Leo, 1994. They got great phonics, and very creative saxophone playing.