In 1969 I naively tried to book the MJQ for a fund-raising concert, but wiser financial council prevailed. I had the pleasure of seeing the MJQ twice during their reunion concerts, and saw Milt on one of his last UK tours. Your reference to the "hilariously snotty comment" from BBC "Jazz 625" presenter Steve Race is unfair. Steve was a very well respected TV presenter and musician (classical and jazz) with a fine wit and sense of irony (not understood by many Americans). In 1964 his references to the way guitars were being "played" was true and his remarks would have been well understood by the audience of the day.
At least I used the qualifier 'hilarious'. I'll note that these videos were originally created for my university class. Young people are on high alert for 'adults' who dismiss them out of hand, and I'm pretty sure those of that age would perceive the comment as I described, wit and irony notwithstanding. I understand that in 1964 someone versed with Segovia, Wes Montgomery et al might have been dismissive or even offended by the way the guitar-specifically the electric guitar-was being played by rock musicians and I don’t dispute that some rock stars were less than stellar musicians. However with benefit of hindsight we know that the instrument described as ‘appropriated by any teenager who can learn three chords’ was destined to be the centerpiece of a musical evolution and revolution in the hands of musicians like Jimi Hendrix, Jimmy Page, Eric Clapton, Eddie Van Halen, Pat Metheny, Bill Frisell, Ben Monder and the list goes on. In any case, I mean no disrespect to Steve Race, but I still think the adjective ‘snotty’ (perhaps 'snooty' would be more precise) is apt in this particular comment even acknowledging the wit with which it's delivered.
Another excellent profile, Chase, thank you. Not only do I so enjoy the MJQ's beautiful music, I don't think I can possibly know how important that 'dignity personified' and 'demand for respect' was to a whole generation of Black jazz musicians. In a New Yorker article from the mid 2000s, Sonny Rollins remembers being a youngster in Sugar Hill-Harlem: "I used to see all of these great musicians. There was Coleman Hawkins, and his Cadillac and those wonderful suits he wore. Just standing on the corner, I could see Duke Ellington, Andy Kirk, Don Redman, Benny Carter, Sid Catlett, Jimmy Crawford, Charlie Shavers, Al Hall, Denzil Best, and all of these kinds of men. Those guys commanded respect in the way they carried themselves. You knew something was very true when you saw Coleman Hawkins or any of those people. They were not pretending. When they went up on the bandstand, they proved that they were just what you thought they were. You weren’t dreaming. It was all real. You couldn’t be more inspired.”
Thank you so much Chase. I never really knew their complete history. But as a teen i loved their sound. I think for sure as a tenor player, The MJQ With Sonny Rollins. But was there a recording called Pyramid? But i had a couple of non musician friends that had their records. I found that to be very interesting and taught me " Never Judge a Book by Its´ Cover"
Thank you so much for the tip! The jazz history videos cannot be monetized so I appreciate a generous gesture like yours, and I am glad you are finding the videos to be entertaining and enlightening! Cheers!
In 1969 I naively tried to book the MJQ for a fund-raising concert, but wiser financial council prevailed. I had the pleasure of seeing the MJQ twice during their reunion concerts, and saw Milt on one of his last UK tours. Your reference to the "hilariously snotty comment" from BBC "Jazz 625" presenter Steve Race is unfair. Steve was a very well respected TV presenter and musician (classical and jazz) with a fine wit and sense of irony (not understood by many Americans). In 1964 his references to the way guitars were being "played" was true and his remarks would have been well understood by the audience of the day.
At least I used the qualifier 'hilarious'. I'll note that these videos were originally created for my university class. Young people are on high alert for 'adults' who dismiss them out of hand, and I'm pretty sure those of that age would perceive the comment as I described, wit and irony notwithstanding. I understand that in 1964 someone versed with Segovia, Wes Montgomery et al might have been dismissive or even offended by the way the guitar-specifically the electric guitar-was being played by rock musicians and I don’t dispute that some rock stars were less than stellar musicians. However with benefit of hindsight we know that the instrument described as ‘appropriated by any teenager who can learn three chords’ was destined to be the centerpiece of a musical evolution and revolution in the hands of musicians like Jimi Hendrix, Jimmy Page, Eric Clapton, Eddie Van Halen, Pat Metheny, Bill Frisell, Ben Monder and the list goes on. In any case, I mean no disrespect to Steve Race, but I still think the adjective ‘snotty’ (perhaps 'snooty' would be more precise) is apt in this particular comment even acknowledging the wit with which it's delivered.
Another excellent profile, Chase, thank you. Not only do I so enjoy the MJQ's beautiful music, I don't think I can possibly know how important that 'dignity personified' and 'demand for respect' was to a whole generation of Black jazz musicians. In a New Yorker article from the mid 2000s, Sonny Rollins remembers being a youngster in Sugar Hill-Harlem: "I used to see all of these great musicians. There was Coleman Hawkins, and his Cadillac and those wonderful suits he wore. Just standing on the corner, I could see Duke Ellington, Andy Kirk, Don Redman, Benny Carter, Sid Catlett, Jimmy Crawford, Charlie Shavers, Al Hall, Denzil Best, and all of these kinds of men. Those guys commanded respect in the way they carried themselves. You knew something was very true when you saw Coleman Hawkins or any of those people. They were not pretending. When they went up on the bandstand, they proved that they were just what you thought they were. You weren’t dreaming. It was all real. You couldn’t be more inspired.”
Look up Sonny Rollins' letter to Coleman Hawkins. Respectful and articulate to the max.
Thank you so much Chase. I never really knew their complete history. But as a teen i loved their sound. I think for sure as a tenor player, The MJQ With Sonny Rollins. But was there a recording called Pyramid? But i had a couple of non musician friends that had their records. I found that to be very interesting and taught me " Never Judge a Book by Its´ Cover"
Words to live by.
I loved hearing thie mellow version of Lonely Woman -- it made it seem like Ornette's version was a cover! So cool. Thanks for sharing your knowledge.
Ornette as cover artist. Love it!
Thanks!
Thank you so much for the tip! The jazz history videos cannot be monetized so I appreciate a generous gesture like yours, and I am glad you are finding the videos to be entertaining and enlightening! Cheers!
Brilliant narration. A story well told. Thank you for making this.
Thank you for saying so!
Great video as always! Love your content
Thanks for saying so!
Dizzy Gillespie,founding member of the Modern Jazz Quartet.
Employer, anyway.
Chamber jazz
An apt description.