Thanks for this comprehensive resumé. Not sure about the role of the "jazz police," though, unless the term includes the vagaries of taste and the demands of the saloon business. Steve Swallow has said the trio with Giuffre and Bley succumbed to a lack of interrest: not enough fans would come out to hear them and as a result they couldn't get booked anymore. They weren't arrested by the jazz police so much as being truly ahead of their time.
Thanks for writing a terrific article on a man who seems very forgotten these days. I admire Giuffre, his playing, his sound, and the way he set up a group that was completely counter to the prevailing way of doing jazz. I am teaching a course on Jazz in the 1950s for Lincoln Center this spring, and though it is a fairly abridged course, he will be included. I am also a bit shocked at Priestly's bizarre characterization of Tristano and his musical significance. One does, however, have to be aware at how nasty Tristano got in his later years, and the way in which this put off a lot of people, AND harmed his reputation. He was, it is true, controlling and self confident in that Jim Jones way, and that didn't help. Also - kudos for citing Gene Roland, who is even more neglected than Giuffre and whjo was a brilliant player and composer/arranger. I actually plan on doing a piece on one of his Kenton things.
Thanks for this comprehensive resumé. Not sure about the role of the "jazz police," though, unless the term includes the vagaries of taste and the demands of the saloon business. Steve Swallow has said the trio with Giuffre and Bley succumbed to a lack of interrest: not enough fans would come out to hear them and as a result they couldn't get booked anymore. They weren't arrested by the jazz police so much as being truly ahead of their time.
Good point, Tom. Thanks for walking with us.
4 Brothers, imagine that. Thanks Ty.
That's right!
Thanks for writing a terrific article on a man who seems very forgotten these days. I admire Giuffre, his playing, his sound, and the way he set up a group that was completely counter to the prevailing way of doing jazz. I am teaching a course on Jazz in the 1950s for Lincoln Center this spring, and though it is a fairly abridged course, he will be included. I am also a bit shocked at Priestly's bizarre characterization of Tristano and his musical significance. One does, however, have to be aware at how nasty Tristano got in his later years, and the way in which this put off a lot of people, AND harmed his reputation. He was, it is true, controlling and self confident in that Jim Jones way, and that didn't help. Also - kudos for citing Gene Roland, who is even more neglected than Giuffre and whjo was a brilliant player and composer/arranger. I actually plan on doing a piece on one of his Kenton things.