When I moved to New York in 1970, I only had two friends here: vibist, David Friedman and bassist, John Miller. At the time, both Larry Coryell and Joe Beck were the titans of New York guitar players - each for different reasons. I knew of them both, of course, before arriving, because they were amongst the pioneers of the new "Jazz-Rock Fusion" movement, which was probably born around 1967. One night, as I was still trying to get settled in this huge damn city, John Miller encouraged me to come down to C.B.'s, which was a small restaurant/bar/club on the East Side of lower Manhattan, where John was playing with drummer Chico Hamilton, saxophonist Arnie Lawrence, and, of course, Joe Beck. I was a bit terrified, but I went anyway. When I was invited to come up and play a set, no sooner had I unzipped my first Manny's gig bag which housed my Gibson Super 400, the music had begun, and I was already completely and totally lost. Without saying a word, they jumped from a standard, to a vamp, to another standard, to another jam vamp. There was never the slightest break between pieces, one thing just segued seamlessly into the next. I had NO IDEA what was happening, and that stayed with me for the entire humiliating exercise. After the set, I packed-up my guitar, and was seated, head in hands, at the bar. Joe sauntered over to me, and, in his no-holds-barred, brash manner said something like this: "You know kid, you really ought to know what you're doing before you get up and sit in with people!" That was it! I hated him, I wanted to kill him!!! He went on to tell me about his recording sessions with Miles Davis and countless others. Of course, I didn't believe him about the Miles sessions, because I had every LP Miles had ever made, and I never saw the name "Joe Beck" on any of them! But, as history has now revealed, Joe Beck was actually Miles Davis' first choice for guitar. Long before, John McLaughlin had ever appeared here. On the recent Box Set re-issues, you can now hear Joe's work with Miles, as Miles searched for this new direction that would find itself in "IN A SILENT WAY" and later, on "BITCHES BREW." But Joe was there first!!! Let us not forget that today!!! Unfortunately, relative to his perceptions of my playing, and my readiness to be in New York, he was right! 100% correct. Well, to make matters worse, when I grabbed my gig bag w/ my guitar, and made my way back home - tail between my legs, I was about to make a most terrifying discovery! I arrived home, and I immediately wanted to practice and study, so I took out my guitar  - but something felt very wrong - without seeing it, I reached inside the bag, and the neck felt all gunky and filthy. I pulled it out of the bag, and to my horror, it was Joe Beck's Super 400, and not mine. This meant that I was going to have to contact him quickly, and exchange the guitars in person, because, no doubt, he had mine at his home. And so, the next morning, I went to his place, and we exchanged guitars, pretty much in silence!Many, many years later, when somehow we had become respected colleagues, and even bandmates at times, I told him this story. He looked at me, shaking his head, and then said: "I said that to YOU?!?!?! I can't believe that I did that. I'm so sorry, and I'm ashamed!" I looked at him and said, "No, you were just telling the truth! And, you were right! It was the best thing anyone ever said to me. And, whatever I might have become, all or in part, I owe it to that one night, and what you said!!!" From that moment on, we were even closer friends. My other favorite Joe Beck anecdote comes from another gig during the mid-'70s when we were playing together in one of his groups which included: David Sanborn; Don Grolnick; Will Lee; and Christopher Parker. We had the daunting task of opening at the Bottom Line for Tony Williams' new Lifetime which featured, the then relatively unknown, Allan Holdsworth. Joe and I stood at the bar together listening and, of course, after Joe had listened for awhile, he turned to me and said, with all due cynicism and some degree of respect: "No one plays anything fast that they haven't played 1,000 times before!" I wasn't sure just what to make of that comment on that night, because like just about everyone else, I thought Allan was pretty remarkable. But, as the years have come and gone, as usual, Joe was absolutely right about great velocity, and great speed around the fingerboard. But, I always laugh when I think of this story, and Joe's amazing 'tude! Joe Beck was much, much more than a great guitarist, or a great musician. Despite his very gruff manner, despite his intense cynicism and sarcasm in expressing it, he was one of the warmest people I have known, and I'm so grateful that we met and became friends. Rest in peace dear Joe, I'm going to miss you very much, but I will never, ever forget how much you helped me to find myself in music!  Believe it or not, I am writing this on Saturday, August 2nd, 2008 because I wanted to acknowledge the passing of a good friend, most respected colleague, and, above all, a warm and wonderful human being. I'm speaking electric bassist, Gary King. What is so striking about all this, at least to me, is that Gary King passed away on July 22nd, 2003! Yes, five years have now passed by, and I did not know about this until yesterday.Somehow, I was looking around the Internet for something, or someone, and I came across a MySpace page for "Kinyatta." Well, in my life, I have only known one person with this name, and he was Gary and Christine King's very young son, when I first met him. So, I went to his page, and lo and behold, my eyes were greated with a blog that he had written about his dear father. I can only say that it made me so very sad. And, on top of knowing that Gary was gone, I was struck by the fact that this news had somehow completely escaped me. How did this happen? How could it have happened?!?! In retracing my steps for 2003, the only thing that makes sense is that I must have been out of the country, in Caracas, Venezuela and performing and doing some clinics at the time. But still, I was in e-mail contact with everyone. I came to know Gary through our work together for Bob James, both as an artist, and as a producer. It goes without saying that Bob's faith in us both meant a great deal! From that initial connection, Gary and I also were fortunate enough to work on a variety of projects for Creed Taylor and his CTI family of labels. It feels as though we must have played together on about 50 projects. But, in reality, it was probably a bit less. Still, Gary's bigger-than-life persona left a most lasting impression on me.  Of course, one was always struck by the fact that, for recording, his instrument of choice was most unusual, a Guild semi-acoustic electric bass. The exact model name and number now escape me. He had a most unique sound, and it was always full of life, and energy, just like his very own ebullient personality. One very memorable recording, on which we appear together, was the 1976 George Benson-Joe Farrell collaboration titled, "BENSON & FARRELL." Gary appears on my favorite track, which was a Latin-style version of the Lane-Harburg classic, "Old Devil Moon." Tito Puente's longtime pianist Sonny Bravo contributes the arrangement, and it is a monster, check it out!!!What is most important for me to say here and now is that Gary King was an absolutely great person, a loving and devoted husband and father, in addition to being a superb bassist and musician. Over the years, long after we were not working together directly very much, we always remained in contact, even if only once per year to just catch-up on things. Those phone conversations were always fun and interesting, and I always ended-up sending him down to Pennsylvania, where he lived for many years, CDs of whatever I had recorded recently. I just wanted to honor his memory here before too much more time had passed. Sometimes, if we are fortunate, we meet someone, who enters our life, and they are just such a kind and decent person that this impression stays with us forever. Gary King was just such a person for me. Though I have expressed these sentiments to them both personally, I send my love and belated deepest sympathies to Christine, his beloved wife, and to his dear son, Kinyatta, of whom he was so very proud. Rest in peace, Gary!  I just wanted to take a moment to express my great sadness upon learning of the passing NBC's longtime host of "MEET THE PRESS," Tim Russert! Apparently, he passed away today, Friday, June 13th, 2008 from a heart attack. He is mourned by countless colleagues, and by admirers and fans just like me! In the hours after his passing, I don't believe that I have ever witnessed a greater outpouring of admiration, affection, and appreciation for one single human being. This was obviously a very fine man, one who has deeply touched the lives of those around him, those closest to him.In a world where the "news" is delivered to us daily in the most odious of notions: "INFO-TAINMENT" - Tim Russert stood apart from this, and served as a reminder to us all that his way, his style, was the way things used to be. His sense of dignity should have served as more of a model than the dictates of today's news 'producers' who obviously see us all as a legion of fools and idiots. During the coming elections, I am going to miss his presence, and his insights greatly. He will be almost impossible to replace, and my Sunday mornings will certainly not be the same for the foreseeable future. To have listened to today's tributes heaped upon Tim Russert  by his colleagues and friends says everything that needs to be said about the depth and character of this great man. Rest in peace Tim, my sympathies to your son, Luke, your wife Maureen, your beloved father, "Big Russ" and your entire family!Addendum: It's Monday morning, June 16th, and I just watched Luke Russert speaking with Matt Lauer on the "TODAY" Show. Obviously, it was very, very moving. What a fine young man! To witness someone so young speaking with such composure was truly remarkable. I honestly don't know, even at this latter stage of life, how anyone in the immediate family has the courage to speak about someone they loved so much after such a sudden loss. It's easy to see why his father would have been so very proud. I have added the very poignant photo of Luke touching his father's chair on the set of "MEET THE PRESS" just after Sunday's special tribute. "Go get 'em Luke!!!"  On this day, I mourn the passing of my dear friend and most respected colleage, Josef Zawinul. Working with Joe and Weather Update(which consisted of Victor Bailey on bass; Peter Erskine on drums; and Robert Thomas, Jr. on percussion) was one of the great musical and personal experiences of my life. But also, one of the great, great disappointments! It all came and went during 1986, just after Weather Report, then really just after Wayne Shorter had finally decided to go it alone. Joe had recorded "DIALECTS" as a solo artist, and the last Weather Report CD, "THIS IS THIS" had just been released as well. I decided to join this group, and with great hopes. Hopes that we might actually be a band for many years to come. But our 7-week tour(four in Europe, and three across the U.S.) turned out to be our "maiden voyage" and our "swan song" all in one!!!The truth is, in my opinion, we were NOT a very good band. Fundamentally because we did not have a very good book of music to play then, and Joe insisted that we NOT do any of the 'old' Weather Report music. The rest of us wanted to do a lot of it because we knew that, what we did have, was not going to be truly competitive with the best music out there then. On the U.S. tour, where we shared the bill with an incarnation of John McLaughlin's Mahavishnu Orchestra(then w/ Bill Evans on sax; Jim Beard on keyboards; Jonas Helborg on bass; and Danny Gottlieb on drums), we were pretty much blown off the stage each night because John's presentation was much more organized and together. The pace of their set was beautifully done, and we were a raggedy-ass mess by comparison. It was some sad shit believe me! Though in stark contrast to what I'm saying, I run into people here and in Europe who thought that the band was great! Go figure! Joe had come to hear "Eyewitness" when both groups were on tour in Japan during '83. That he was so knocked out by our group's music and approach was such a thrill I couldn't believe it. For him to sit there through two long sets of keyboardless music was amazing.  However, I don't think he wanted a "clean" guitar sound for HIS group.....and we had a lot of conceptual disagreements. In the end, Weather Update was SO loud that I found myself drifting back towards a sound and style of playing I had long since abandoned. Not long after the tour, as things turned out, when Joe disbanded Weather Update and started the Zawinul Syndicate, Scott Henderson was the guitarist, and I don't think that Joe could have made a better choice! Scott is one of the great guitar voices, and had just the right blend of grit and blues to go with his own jazz vocabulary. I think it also should be said that Joe initially wanted John Scofield for Weather Update, but, John wisely chose to stick with his own music, and to develop being a bandleader himself.But, and bless his heart, Joe is a most difficult man to work with.....and anyone who has "served time" with him would tell you the same. However, he is one of the most uniquely gifted musical minds ever and it was an honor to have worked with him. My best musical memories are simply jamming at the soundchecks.....and, at times, just standing next to him at soundcheck while he played duo with the great, Peter Erskine. Wow, the two of them sounded, to use some past contemporary horrifying slang, "stupid ridiculous good!" When Joe sits down at his keyboard rig, within a note or two, you know instantly WHO is playing and setting the mood and tone. I would not use this word without great care, but HE was truly a genius! One of the great things I learned from Joe comes from the following story. As our tour began in Europe, and remember this was just after the demise of Weather Report, there were actually some very serious "press conferences;" and, the jazz writers wanted to know everything. What happened to the "old" group, and what was to be the direction and purpose of this new group. Of course, Joe was asked some pretty ridiculous questions too. Here's a rough sample: Reporter: Mr. Zawinul, what do you think about "rock?" Joe: I don't think about it! Reporter: Well, who do you listen to? Joe: I listen to MYSELF! When I first heard this, I suppose I thought to myself, "geez, what an arrogant asshole!" But, believe it or not, I used to actually think about this response often. And, somewhere, during the middle of the tour, I realized: Wow, this is why he is who he is! Yes, it's a great thing to have an open mind, and to listen to all the music that's out there, BUT, in the final analysis, if you don't hear YOUR OWN MUSIC, the music which exists INSIDE OF YOU, then you will never "hear" a damn thing of substance.  And, you will never have a musical personality or style. When you look at Joe's body of work, it is rich with personality and style. So, the lesson is: LISTEN TO YOURSELF! HEAR YOUR OWN MUSIC!Beyond all the arguments, and there were many, we came away from it all with a deep and lasting warmth, and a great respect for one another. When my father died in '93, and I was away in California performing with one of my trios at the time, amongst the first messages of sympathy on my answering machine at home was Joe's voice saying beautiful things. For this, and many, many other moments, I will always love Joe, and treasure my times with him. Thanks to my dear friend, Peter Erskine, I can share with you all this shot of Joe and me playing Gin Rummy on our tour bus. You should know that I kicked his ass all over Europe, he wouldn't let me leave the table!!! And, we were obviously discussing my transcriptions of older Weather Report tunes which he refused to play!!! Rest in peace, Joe! I'm going to miss seeing you here in New York.  For those of us who had actually seen him play baseball as the shortstop on some of the greatest New York Yankees teams, for those of us who were lucky enough to have heard his calls on countless Yankees broadcasts, Tuesday, August 14th was a very, very sad day. I learned that Phil Rizzuto, "The Scooter" had passed away via an e-mail from my dear son, Heath. Phil Rizzuto was a one-of-a-kind broadcaster because he had played the game, but never lost that 'little boy' inside and he brought all that enthusiasm and spirit into 'the booth' with him. He never lost sight of the fact that baseball is, in the end, just a game, and the players and the fans should have fun. He made every game fun for those of us who had the pleasure to listen to him and his "huckleberry" of a colleague, the great Bill White. Rest in peace Scooter, since you left the Yankees booth, you have been missed every single game!!! For those of us who knew him, who were lucky enough to be counted amongst his friends, this was a day we all feared might come. And, on January 13th, 2007, I learned that Michael Brecker had passed away. He had lost his brave and courageous fight for life, in the end, to leukemia. It would be easy to sit and express just how much his playing and his music have meant to me since I first heard him play in the early '70s just after we had moved to New York, but, that would be the story for so many whose lives Michael touched. As a saxophonist, as a musician, he was a true master. And like all such masters, his greatness even served to torture him, as to be constantly dissatisfied with his efforts. However, I never saw anyone work harder at their craft than Michael did, and the results of all that hard work were always evident to the rest of us.He was such a great friend and bandmate. What most people wouldn't know, for the intense seriousness of his playing and music, was that he had an incredible sense of humor. He was very funny!!! And, he was a great practical joker. I can't tell you how many nights I would come on stage, as part of the early Brecker Bros. Band, and during the first tune, look down at my little pedals on the floor, step on one of them, and suddenly, I would hear the wrong sound coming back at me. A-ha! Of course, before the set, Mike had sneaked on stage, and changed all the knobs on every pedal. Wow, I wanted to kill him. After months of this, it inspired me to place little colored dots on my pedals so I could remember the settings. I still do it to this day!!! Another example of his rich sense of humor is the above photo that I've chosen to share here with everyone. It appears on the inside sleeve of an old B.J. Thomas album where all the players and production team were asked to submit a childhood photo. Of all things, Mike turned in a photo of himself as a Jr. High School Safety Patrol Guard. Can you believe that?!?!? And, if you want to see and be moved by a great, great photo tribute to Mike, please take a moment and visit Peter Erksine's site. The photos, which Pete shares there, truly capture everything that words will miss, especially the bond and love between two amazing brothers. Michael was also a really funny amateur cartoonist, sometimes in the style of Don Martin from MAD Magazine. In the infinite boredom, which sometimes surrounds the process of recording, Mike would sit at the console and doodle cartoons on any writing surface available.  Most of them were devilishly witty. I recall the cartoon he did of my "TIGHTROPE" LP cover, with me(as a Don Martin character) walking across the tightrope surrounded by lots of disgusting 'flies' everywhere. Of course, there were many other such cartoons, but the subject matter is not suitable for discussions here!Mike also had a wicked jump shot in the game of basketball! During a certain period of his return to a healthier lifestyle in the '80s, we used get together at the McBurney YMCA in lower Manhattan and steal a few moments to shoot some hoops. He had great form and a great touch. If he had a more aggressive personality on the court, he could have been quite a player. I realize that I haven't mentioned that Mike was also a great jazz drummer! In those days, everyone wanted to play like Elvin Jones. It was almost required because all the tenor players would get together and play duo: tenor sax and drums. So, one of them always had to be prepared to play drums, and you had to play well, and for a long, LONG time. Like 'Trane!!! Mike, as you would imagine, did a great Elvin. However, truth be told, brother Randy, even with his unorthodox left-handed, weird lookin' approach, did the best Elvin! Another humorous example of the battle between these two fantastic brothers!!! I'm not sure just why, but several weeks ago, Michael and I began corresponding again via e-mail, and those 'conversations' were warm and wonderful. He asked me how my son, Heath, was doing, and after sharing some thoughts with him, Michael wrote back with great sensitivity and care. It made me feel wonderful about the depth of this friendship, which had spanned over 35 years. As much as I, like everyone else, will miss his playing, his artistry, I will miss his friendship, and his great intelligence and sense of humor. He was a great, great artist, and his work will live on through his incredible body of work, but also through all those whose musical lives he has touched. That number would be inestimable. He fought these horrific battles towards the end of his life with great resolve and dignity, if only to try to be around longer for his beloved wife, Susan, and his two dear children, Jessica and Sam. My heart, my thoughts and my prayers go out to all of you. And, of course, to his dear brother Randy and sister Emily, I send out my love and those same thoughts. Rest easily and safely now Michael, you have been an inspiration in every regard. God bless you and keep you!  On this day, December 25th, 2006, I was saddened to learn that another one of my earliest musical heroes, the amazing, James Brown had passed away. Growing up in West Los Angeles, and listening to the radio, hit single/45 after hit single, "JB" became a legend to kids like me. I remember, after one of us could actually drive, going down to the Shrine Auditorium to see him perform with "The Famous Flames" including Bobby Byrd. It was incredible, an unforgettable night in my adolescence. And of course, "the cape"....that "cape." As he was introduced on his recording, "LIVE AT THE APOLLO" I like to remember him as "the hardest working man in show business!" Surely, he must have been!How does one begin to recount the memories of each single? Just look at all these great tunes: "Please, Please, Please"; "Try Me"; "I'll Go Crazy"; "Night Train"; "I Got You"; "Papa's Got a Brand New Bag"; "It's a Man's Man's Man's World"; "Money Won't Change You"[a personal favorite!!!]; "Cold Sweat"; "Get It Together"; "I Got the Feelin'." How can one stop listing them all? One is greater than the next. How well I remember having to drive down to "Dolphin's of Hollywood" to buy each single, because they were not sold in my local record shop. But perhaps the big "crossover moment" happened when "JB" performed as part of the "T.A.M.I. Show" which reached young people of all ages and ethnicities.  If you've ever seen the Barry Levinson film, "LIBERTY HEIGHTS" in some ways, the story of the younger son mirrors my experience as a young person. As a musician, after failing at the drums, I remember spending hours trying to figure out all the various Jimmy Nolen guitar parts on those classic tunes. It was considered essential, and still should be. And what an education I received while trying to learn and imitate every word, every inflection, every mannerism, those screams. Most of the time, I had no clue as to just what he was really saying, but it didn't matter because, in some way, it simply reached me. His sense of time, just where he placed each shout and grunt within the beat. Impeccable! In his later years, I had the privilege to record with him a couple of times, nothing of great significance; and, to have appeared with him on "LATE NIGHT with David Letterman" during the '80s. That was incredible!These memories bring me back to time when everything seemed to be so much less complex, and perhaps the world did not seem to be such a dangerous and terrifying place. We have learned that this was never the truth anyway! Rest in Peace James Brown, you were really, seriously too much, way too funky, and way too soulful!!! I, for one, will never forget you and your recordings! You made this world a better place for us all and you helped to bring many of us together!!! Thank you so much!!! 
 Today, I mourn the passing of the great Arnold "Red" Auerbach(1917-2006), who was, at varying times, the coach, general manager, and the prime architect of the great Boston Celtics dynasty. Since I was little boy, growing-up in Los Angeles, California I have been Celtic fan, I loved their name, the uniforms, the little clover, etc., but mostly because, in those years, there were no professional teams in Los Angeles, except for the then Los Angeles Rams. So, the Lakers were still in Minneapolis then, and I have never in my life rooted for them! Never!!"Red" Auerbach was a real character, beloved by many, loathed by all non-Celtic fans. I loved the Celtics of the Cousy-Sharman era, but when Bill Russell arrived basketball teamwork went to an entirely new and higher level. I remember all the great players: Sam Jones; K.C. Jones; Tommy Heinsohn; John Havlicek; "Satch" Sanders; Paul Silas; Frank Ramsey; Larry Siegfried; "Jungle Jim" Loscutoff; and countless others. All these great individual talents aside, if you were in a Celtics' uniform, you understood that the 'team' came first. A lesson for everyone! When Michael Jordan retired after 3 championships and said that, there was 'nothing left to accomplish.' He only had to look to Bill Russell and the Celtics to have known that there was so much more to accomplish. And this why, to me, Bill Russell is the greatest champion of all-time. And, for having the courage and foresight to have been behind all this, I will never forget "Red" Auerbach, because he was such a fantastic and fun part of my childhood sports memories. Rest in peace Red, I guess it's time to light-up one last cigar?  I happened to be listening to Gary Walker's show on WBGO, and just after he had concluded playing something from my new CD, he announced to his listeners the passing of this legend in our music. Though I feel hardly qualified to write of his greatness or his contributions to what became known as Salsa or to the marriage of Latin music and Jazz, his presence is forever etched in my musical consciousness because he appears on so many of my favorite recordings in the Jazz idiom. It was as if he was "on staff" for any Verve, Riverside, or Blue Note recording session that required congas. It's pointless to try to list the names of everyone he recorded with because he recorded with everyone!!! However, I can't help but mention Kenny Burrell's "MIDNIGHT BLUE"; the countless Wes Montgomery recordings on which Ray appears; and let's not forget the 'swing' he brings to "Billie's Bounce" with George Benson and Ron Carter!Every time I pick-up my güiro and begin to play my one groove, a cha-cha-cha, I can't help but begin to sing, "Cocinando" from his "QUE VIVA LA MÚSICA" CD. Rest in Peace Ray Barretto! You were one of my great heroes. Te quiero mucho maestro y gracias por todo tu trabajo tan bueno!!!  I recall spending countless hours trying to figure out Steve Cropper's guitar parts on all these classic tunes. And what an education I received while trying to learn and imitate every word, every vocalization. Every time I listen to "Soul Dance Number Three" and I hear him say: "Y'all hoyd(heard) about that one, ain'tcha?" It brings me back to time when everything was so much less complex, and perhaps the world did not seem to be such a dangerous and terrifying place. We have learned that this was not the truth anyway! Rest in Peace Wilson Pickett, you were absolutely too much, too funky, too wicked, too soulful!!! I, for one, will never forget you and your recordings! Thank you!!! It is so very hard to express just how sad I am feeling about this great loss.My relationship with the work of Folon began quite by chance. In 1976, I had moved to a new apartment in the Chelsea section of New York to begin life anew, and my new walls were totally as blank as my life seemed to be then. I was working one day, recording in midtown Manhattan and, on a break, I went downstairs to a poster art gallery and, my eyes were drawn immediately to the posters of someone named Folon. I browsed, thought, procrastinated, and then, finally, I bought 2-3 of them, brought them home, and put them up on the walls. It wasn't long before virtually my entire apartment was covered with his artwork. A fact lamented, and with good reason, by my dear ex-wife Nancy. One year later in 1977, when I was lucky enough to be recording "TIGHTROPE"(Columbia), art director, the great Paula Scher, asked me what I wanted for the cover. Of course, I shyly asked if I could possibly have a Folon on the cover. And, she smiled and happily said that she would make this happen.  At that moment, I had no idea that this would develop into a wonderful friendship and countless collaborations that spanned nearly 30 years. Two years later, Paula sent the two of us to the studio of the great photographer, Jim Houghton, where we took countless portrait photos. I have always been grateful that I have retained the contact sheets and some prints of those sessions. How lucky can one man be? Folon's artwork now graces 12 of my LP/CD covers, and this is something I have always considered as one of the great, great honors of my life. His productivity, his output have always served as a great inspiration for me, and an ideal which I never believed that I could achieve with my own work.During his infrequent visits to New York with his girlfriend Paola, we would almost always find a moment to get together. And, he always made a point of inviting me to his exhibitions, which was a true thrill for me. I will always remember him for his great kindness and tremendous sweetness. It was touching to view his sense of wonderment at the insanity of human life.  His images often projected the sense of the very small individual lost in a sea of frantic activity, as the world went spinning on around them, out of control. How much I enjoyed watching his changes of style and technique, yet the themes remained familiar. Firstly, I was attracted to the bright colors of air-brushing, then water colors brought on a much softer sense. Aquatint etchings came, and suddenly there was a new character to his work. More recently, his work with sculptures gave us another view of his immense and prolific talents.From here in New York, a city Jean-Michel loved so very much, I send my love and strength to his beloved wife, publisher and manager, Paola, his son, François, his dear sister Danièle and brother, Christian. Peace eternal to you dear Jean-Michel, and thank you so much for having graced my life with your friendship, your art, and your perspectives! You were a beacon of light for me!  Though I hadn't seen nor spoken with "The Count" in years, he was always close to my heart, and a very, very special part of my musical memories, of my growth, both musically and personally.Apart from being a great, great player, he was truly an unforgettable human being, a true 'character', and a dear, sweet soul who will be deeply missed by all those who knew him. Not to mention those of us who were lucky enough to have shared the stage with him. I will always think of him with a warm smile. He had the best smile, and a great laugh. And, as you can see from the photo, he had the best "Isro" too! That, of course, is the Jewish version of an "Afro"!!! We spent many great times together as part of his Count's Rock Band in the early '70s, especially our gigs out on Long Island at the club, My Father's Place. I recall driving out there with "The Count" in his little Volkswagen on those icy January nights, and listening to him extoll the virtues of how a White Castle hamburger should be devoured as though it was a fine oyster. The description was complete with a two-finger approach to holding these comestible jewels. We even made a recording together for Flying Dutchman in 1976 titled, "SOMETIME OTHER THAN NOW" which featured: Don Grolnick; Will Lee and Steve Gadd. I recall once, asking The Count, "If you can improvise like that, why don't you ever write tunes?" To which he replied, "Well, when I start to write something, and place a note down on the paper, I then think to myself, Why that note? What right do I have to write THAT note? Mozart wrote that note, Beethoven wrote that note! 'Trane wrote that note!!! And by the time I've done that, I've talked myself right out of the process!!!" From this humble page, we all send our love and strength to his beloved wife, Eleanor and their daughter Holly. Peace eternal be with you dear Count!!!  I don't know exactly why, but it seems that my earliest memories of hearing Jimmy Smith, and his Hammond B-3 organ, were while attending University High School in West Los Angeles during the mid-'60s. My dear friend Paul Horvitz, I believe, was the first person to come-up to me raving about the LP, "WHO'S AFRAID OF VIRGINIA WOOLF?" and so, after hearing the title track one time, I had to go out and buy it. But, this was considerably later in Jimmy Smith's career and, a move to Verve and the production leanings of Creed Taylor took his music to bigger and brassier musical settings, away from the intimacy of the classic organ trio[organ; guitar; and drums: OGD]. Still, it was impossible to deny the appeal of his many Verve recordings, which I still have, and listen to, to this day. This was all part of my romance with "Jazz".....its history, its language, and its brightest stars. One recording, one artist, would lead me down the path to others. But, more than likely, I was led back to Jimmy Smith, after hearing drummer Grady Tate on Wes Montgomery's "MOVIN' WES" LP, and this brought me to Jimmy Smith's musical relationship with the great Kenny Burrell. And the cycle went on, and on, and on, and on!!! With its roots firmly planted in "the blues" the classic organ trio seemed to bring a new "sub-genre" into the rich history of "Jazz"......one which might be called "Soul Jazz." A music which also embraces Gospel and R&B roots. It exists in its own special savory melting pot. And, hearing Jimmy Smith playing with saxophonist Stanley Turrentine on "PRAYER MEETING" solidified that sense. In the end, from his Verve years, without question, my favorite recording was "ORGAN GRINDER SWING" which featured Kenny Burrell and Grady Tate. I was always more of a fan of "small group" playing rather than the "high-gloss" production values, which were so very appealing, and usually associated with Creed Taylor's productions. Recordings like this, which featured some classic tunes, caused me to want to research Jimmy Smith's earlier recordings for Blue Note Records. It was here that I entered into a world which seemed so very, very far away to me.  A young boy, growing-up in West Los Angeles, and the images on the covers, the names of clubs, the places, even the food, just seemed like something I would never know. But, that was all to change, and I feel lucky that I actually have been able to experience being in, and even playing in some of those famous clubs. Perhaps it was part of this sub-genre, perhaps it was just Jimmy Smith's personality, but I always smiled when seeing his LP covers in those years, because it seemed that he had such a great sense of humor and could laugh at himself a bit. Now, when I sit at home, in my living room, I feel lucky to have copies of both volumes of: The Cover Art of BLUE NOTE Records. If you are fan of this music and you don't own these books, you must seek them out for your coffee table because they will serve as the most wonderful reminders of the music and the people who brought it to you!!!Right now, it is time for us to remember the great Jimmy Smith and all that he gave us over the many years he was with us. In my way, I just wanted to celebrate all that he has meant to me. It was only a couple of days ago, after my gigs in Los Angeles with Larry Goldings and Harvey Mason, that I had mentioned the Tommy Tucker classic "Hi-Heel Sneakers" which appeared on Jimmy Smith's "GOT MY MOJO WORKIN'" recording, life is so strange at times. Rest in peace Jimmy, your fantastic legacy lives on through your recordings!  To this day, Ray captures something in the lyrics that even Frank Sinatra could not claim. When I was finally lucky enough to record with him, I stole a moment to sit and talk with him, and to tell him how much his version of my father's song meant to me. I will never forget sharing that with him.As a teenager, how could I forget songs like: "What'd I Say?"; "Tell the Truth"(w/ the amazing Margie Hendrix); "You Are My Sunshine"; "I Gotta Woman"; "I Can't Stop Lovin' You"; "Georgia on My Mind"; "Hit the Road Jack!"; and "One Mint Julep."  How well I remember hearing, of all things, "Alabammy Bound" from "THE GENIUS HITS THE ROAD" during times spent at a vacation home in Palm Springs. They formed a vital part of the soundtrack of those years, and, in some unconscious way, made me aware that there was "another" America out there, an important America, and one I was determined to understand, and to grow closer to. Who will ever forget his interpretation of "America the Beautiful," made all the more moving because of the 'the two Americas!' Separate and unequal. During my college years, while lost in a "Purple Haze" of my own making, I can't begin to recall how much time I spent listening to and digesting every nuance of the LP, "CRYING TIME." I want to say for always and forever, and with reverance and respect, that I loved and adored the voice, and the style of Ray Charles. I feel so very lucky to have been alive during a time when he could have touched my life. Here's to you Brother Ray, peace eternal! "Sing the song children...." Like so many musicians of my generation, those before, and those yet to come, Elvin Jones has been a constant source of inspiration. The intense 'swing' he possessed was unrivaled by anyone, and his contributions to the incredible John Coltrane Quartet were incalculable. In 1988, I wrote a tune, a tribute to Elvin entitled, "Butane Elvin" and, what I wrote at the analysis page can also serve as a fitting homage to how I loved his playing. I only have to listen to: "A NIGHT AT THE VILLAGE VANGUARD" by Sonny Rollins; Wayne Shorter's "SPEAK NO EVIL" or "JUJU"; to Joe Henderson's "INNER URGE"; to Larry Young's "UNITY"; to McCoy Tyner's "THE REAL McCOY"; or the unforgettable duet with 'Trane on the tune "Vigil" which appears on "TRANSITION," and I am immediately transported to a better place.As one grows up, and grows older, one would like to believe that our heroes are just going to be around forever, unchanged by the passage of time. Sadly, this is never so. With his passing, I just wanted to take a moment to again acknowledge all that this great master drummer has added to my life and my appreciation of what it takes to do something special in any area of life. How much I will miss the sound of that ride cymbal with the rivets!!! How many great artists ever rise to the level, where the simple mentioning of their first name alone, conjures up the immediate image of all that they are, and all that they've done? When you hear the name "Elvin" who do you think of? Rest in peace Elvin, we are all going to miss you so very much! |
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How well I remember having to fumble through my first live interview with Jacques, I felt so ashamed of my non-existent Spanish then, and, had I not had Caridad Canelón by my side, it would have been a complete and total disaster. Fortunately, as the years passed, my Spanish improved to the point where I could offer reasonable answers to his questions. I always asked him to write out the questions first for me, so that I could SEE them. Reading the questions gave me a fighting chance of inventing an answer in Spanish - usually with his help. Mostly, he allowed me to present music that I felt that everyone should hear, and I am not speaking of my own recordings.
had passed away during the night after a long and brutal bout with cancer. Like his father, the great Bob Weiskopf["I Love Lucy"; "Maude"; "Our Miss Brooks"; "Carol Burnett"; "Red Skelton"], Kim was a great comedy writer. 2nd generation "Old Hollywood" like me! He was a writer and writer/producer for shows such as: "Good Times"; "Married With Children"; "Three's Company"; "The Jeffersons"; and "What's Happening Now" to name a few. We met during our Jr. High School years in Los Angeles through our dear mutual friend, Dan Keller. Yet, despite being divided by his living in the "Valley" - on the other side of "the hill" - we became great friends, and like all youth, participated in some totally outrageous debauchery together!!! We are pictured together below, as we attended Dan's wedding some years ago.
On this day, August 10th, 2008, I was saddened to learn that yet another one of my earliest musical heroes, Isaac Hayes had passed away. How well I remember, growing up in West Los Angeles, and listening to Wolfman Jack's radio show, and being introduced to the songs of this great Stax/Volt, Memphis, Tennessee-based songwriter/pianist. And yes, that is how I am going to remember him, not for "The Theme from Shaft" which will linger most in the memories of his many fans. But, where do I begin to recount some of the songs which formed, in part, the soundtrack of my adolescence?
Today, I mourn the passing my dear friend and most respected colleague, guitarist Joe Beck