Talking Jazz With Ben Sidran: Volume 1: The Rhythm Section
Language: English
Pages: 568
ISBN: B00P38DOXY
Format: PDF / Kindle (mobi) / ePub
Miles Davis, Gil Evans, Dizzy Gillespie, Jon Hendricks, Max Roach, Betty Carter, Jackie McLean, Don Cherry, Sonny Rollins, McCoy Tyner, Archie Shepp, Herbie Hancock, Tony Williams, Keith Jarrett, Wynton Marsalis, and Jack DeJohnette—these are just a few of the jazz musicians whose conversations with Ben Sidran are recorded in this volume. In stimulating, personal, and informative discussions, they not only reveal their personalities, but also detail aspects of the performance, technique, business, history, and emotions of jazz. Newly expanded with previously unpublished dialogues with David Murray, Dr. John, and Mose Allison, Talking Jazz is undoubtedly the best oral history of recent and contemporary jazz.
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it never happened. Ben: You also studied tap dance at a dance school or something? Steve: Yeah, my teachers name was Curly Fisher. My grandmother used to take me for lessons. Take me for drum lessons and take my brother and I for dance lessons. Ben: Did they want you to be a musician or a performer? Steve: I don’t know if they did. I think they got a lot of enjoyment while I was doin’ it as a kid, but I don’t know if they really wanted that for me when I got older. I know after I moved ... I
that. But I didn’t realize it at the time. I had no idea. And I was allowed to play the way I wanted to, and I was playing small group, man. I was just 93 kickin’ all over the place. And then I’m getting these write-ups and reviews by people like Nat Hentoff and Dan Morgenstern and Martin Williams and people are writing about me. And they’re all calling me a small group drummer. And they were all hearing me that way. And I wasn’t even thinking about it. Believe me, in my mind was not that I’m
like “trying to capture the sea in a fish net,” there is always the hope that these interviews, at minimum, show the kinds of things a musician has to deal with on a day to day basis, the things they like to talk about. There is also some illumination of the mechanics of making the music, of improvisation and other methods of the art. These interviews, then, can be read on many levels; as anecdotes, instruction, first person reportage, reports from the battle front. Actually, these aren’t
a lot of fun, though, man ... Oh yeah, he was a lot of fun, you know, ‘cause he’d get up. I remember him coming to the place, I was working in the Five Spot, the old Five Spot, and he come in there, boy, and he had, you know it was like dead of winter. Here’s Monk with this big coat on and he always wore his fez or something, hats was his specialty, you know. And boy, he danced back and forth through that joint. I played all night and he jus danced back and forth, he never set down. He just one
according to how well we played the pieces. And since I lived around the corner, I had more advantage than most of the students, because I’d go around and walk the dog, and you know, have a little better special treatment. I should back track a bit, because my uncle was a big jazz fan, you know. His name was Roy Wood, and he started out as a jazz teacher. He later wound up being a news broadcaster, commentator, and finally, I think he’s retired now, he wound up being the vice-president of the
