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Jazz saxophonist George Coleman is featured in the November 2011 issue of Jazz Inside Magazine. This 80-page edition also features interviews with saxophonists Jerry Dodgion, Michael Pedicin, drummer George Coleman, Jr., pianist Martial Solal, and bassist Phil Palombi. This veritable Holiday Jazz Gift Catalog is filled with gift ideas. There are also CD reviews, articles to delight your jazz palette, and a comprehensive 16-page calendar of New York concert and event listings.
The November 2011 issue of Jazz Inside Magazine (80 pages), available free in print and as a down-loadable digital edition, and designed for jazz lovers worldwide - features jazz saxophonist, composer George Coleman. This issue also includes interviews with saxophonists Jerry Dodgion, Michael Pedicin, pianist Martial Solal, bassist Phil Palombi, and drummer George Coleman, Jr. This issue also includes ample CD reviews, articles and a veritable Holiday Jazz Gift Catalog full of ideas for jazz lovers and much more jazz to delight your jazz palette.
In the interview with George Coleman, the saxophonist, who has recorded and performed with Miles Davis, Max Roach, Chet Baker and others, commented on the controversy about his playing inside and out and eventually leaving Miles’ band: “When [Miles] wouldn’t show, I would be left out front. And a lot of people thought I was Miles Davis, if you can believe that...They would come to me at the end of the set, after the show when he hadn’t shown on the gig at all ….they’d say,“Oh, Mr. Davis, that was so beautiful. I really enjoyed it.” They thought I was Miles Davis!”
George mentioned that during his time with the band, there was tension because drummer Tony Williams wanted more adventurous playing from the sax position. “I was slightly ostracized in the band … they were trying to play something that they considered, you know, ‘ultra-hip’ and modern … one night, I said: ‘I’m gonna get these guys off of my neck.’ … I played some of the “outtest” sh*t you ever wanted to hear … all their eyes popped off! … they were impressed … after that - I never did it again.”
Coleman went on to comment about the February 1964 performance at Carnegie Hall by the Miles Davis Quintetm that is captured on the albums My Funny Valentine and Four and More. “Herbie told me, a few years later, that Miles came to him and said, ‘Why don’t you play those same chords behind me that you play behind George?’ Herbie was listening to what I was playing – I was playing a few half steps and other chords than the original chords.”
George Coleman, Jr. plays drums, is an artist, and has a degree in Chemical Engineering. He grew up as the son of two active jazz artists – pianist, bassist, vocalist Gloria Coleman, and saxophonist George Coleman. He talks about his influences and experiences among various jazz luminaries. George Jr. also went on to shed additional understanding about his father’s departure from Miles Davis’ group in 1964, and how Miles tried to use his mother Gloria to convince George to return to his band after his 1964 departure.
“[Miles] was essentially trying to get my dad to re-join the band … my dad was not going to be going back to that band. [laughs] It’s funny because there are all these stories about how my dad was fired from the band and all that stuff ... Suffice it to say, my dad didn't get fired from the [Miles Davis] band — he left of his own volition.”
Saxophonist Jerry Dodgion played with virtually every big band of the 50s, 60s and 70s and many since, and performed with Red Norvo, Frank Sinatra and many others. In the interview with Jerry, he commented on the fortuitous beginnings of the Thad Jones Mel Lewis Jazz Orchestra in 1966.
“[Thad Jones-Mel Lewis’ Big Band first rehearsal was] at A&R Studios on 48th Street … at midnight. To get all those guys at that time, that’s the way it worked. Everybody was like, “Wow.” There was electricity in the air. It was unbelievable. … You could tell that something was in the air that was great. It was just amazing.”
Saxophonist Michael Pedicin discusses his new recording, his work with Dave Brubeck, Pat Martino and, during his youth, meeting John Coltrane at Pep’s in Philadelphia.
On Brubeck, Pedicin says: [Dave Brubeck asked] “‘You know most of my stuff, right?’ And, I said, ‘Oh yeah.’ But the only song that I had ever played by Dave Brubeck, at that age, was ‘Take Five.’ I don’t think I knew anything … That was on New Year’s Day. So the next day, the second the stores were open, I went out and bought every LP album I could find to learn all the music to go to the rehearsal.”
Pedicin shared his experience meeting Coltrane: “We went up to John Coltrane and introduced ourselves as students of the music and shook his hand. I tell students that I didn’t wash my hands for three years after that. [laughs] But, he was just a gentle soul—just like Elvin Jones said, ‘he was like an angel.’ That’s how he was—soft and sensitive. When he shook your hand, he embraced your hand and held it softly in his hands.”
Ken Weiss conducted a compelling interview with French pianist Martial Solal. “Why I like to practice is to be able to do anything, anything that comes here (points to head), I want to hear it (played), and for this, you must be in good shape.”
Bassist Phil Palombi performs regularly with the Vanguard Jazz Orchestra and was on the road for an extended period with Curtis Stigers. Palombi has recorded a new album, a tribute to bassist Scott Lafaro, and uses LaFaro’s bass on the recording. LaFaro recorded with pianist Bill Evans until his death in an automobile accident in July 1961. Phil discusses his new recording, his activities, approach to composing, the many things he has learned from his mentors – and all with a signature sense of humor and humility.
Phil commented on his composing: “I’ve learned to approach writing using the same advice that a college English professor once gave me. Rewrite, rewrite, rewrite, rewrite, rewrite. In a
nutshell, I go into a stream of conscience mode and just get something down on paper. Then I make my wife play it — Sarah Jane Cion, a great jazz pianist — who tells me how much she doesn’t like it.”
In this issue readers will find throughout the magazine a veritable catalog full of Jazz Holiday Gift Ideas — recordings, musical instruments, performances, services and more.
The CD Reviews section includes coverage of recordings by Antonio Adolfo, Tim Armacost, James Carter, Lars Haake, Mike Longo, Rene Marie, Christian McBride, Phil Palombi, Michael Pedicin
Comprehensive monthly calendar and event listings for the number one jazz market in the world - New York - span 16 pages.
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