Letter from Phil Woods (re Bud Shank)
Mark Kleinhaut
Hello Jazz lovers, wherever you are! I continue to be a fly on the
windshield of the jazz industry. (HA!) I presume you know that Bud
Shank was fired from his post as founder and guiding light of the
Bud Shank Workshop in Port Townsend, WA. He has been the 'man' there
for 25 plus years, assembling one of the best teaching ensembles
ever! But now they want a younger man with young ideas! Outsourcing
the wrong guy folks! It only takes forever to learn this music thing
and even longer to come to terms with this jazz thing. And they want
a younger guy. Any damn fool can play when they are 20, or 30, 0r
40, 50, 60. But try cutting the mustard when you are in your late
70's! Now anyone that can do that has acquired knowledge that no
younger person can ever hope to learn.
The jazz existence, or any existence is not about getting somewhere
it is all about the voyage. No one can ever master life, only
experience it and contribute something to making the world a better
place to be an artist. ARTIST is the key word. If you want to be a
practical musician, great. Get some gigs and have a good life. But
if you want to be a jazz musician, the requirements are more
stringent. An awareness of world culture is a good place to start!
Learn something about food and wine, learn a language, read a book,
paint a painting, see an O'Neill play, stare at a sunset. Write a
Rondo for heaven's sake - be somebody. And no matter how long you do
it you will barely touch the surface of this passion called life,
the jazz life! You have to be a warrior - Bud Shank is a warrior! A
tough one who has survived. What he has to teach is incalculable to
measure. And they want a younger guy. How about Norah Jones to teach
jazz! singing ? Yeah! Right!
Bud and I have been doing many gigs together, Toronto festival,
North Sea and others. We broached Concord records to try and secure
a one shot record deal for Yoshi's in November. They said that
instrumental music doesn't sell anymore! Imagine! A company founded
on instrumental music, great music, decides that it doesn't sell
anymore. I am mad as hell and will continue to rant and rave about
these things until my last breath.
Culture in America is going to hell in a hand basket. (I love that
saw - don't know what it means but love it still.) Keep the song
alive. Until next time stay well. And thank you for being a part of
my thing!
Phil Woods
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Mondoslug1
> How about Norah Jones to teach
>jazz! singing ? Yeah! Right!
I'm sure I'm making myself wide open to be slammed but Phil Woods playing on
Billy Joel's "Just The Way You Are" probably did as much for his career as
anything else. I don't know if this relates at all to anything - I'm just
sayin...
Max Leggett
wrote:
In B natural, IIRC. Effortless mastery of his instrument, quite apart
from major bebop credentials. And if we're going to slam Woods for
doing session work for pop musicians, then we'd have to slam 99% of
top flight jazz musicians. Whenever people talk about Trane in hushed
whispers [and I'm a huge Trane fan] I always recall him playing with
[I kid you not] Daisy Mae and her Hepcats. Now there's a name for a
band. King Kolax was another R&B guy that Trane worked for. So is
Trane compromised by his seeion work? No more than Woods. Woodsie's ok
by me. Nothing wrong with making money.
Mondoslug1
>On 10 Sep 2004 20:05:50 GMT, mondo...@aol.comwaht (Mondoslug1)
>wrote:
>
>>Mark K. wrote:
>>
>>> How about Norah Jones to teach
>>>jazz! singing ? Yeah! Right!
>>
>>I'm sure I'm making myself wide open to be slammed but Phil Woods playing on
>>Billy Joel's "Just The Way You Are" probably did as much for his career as
>>anything else. I don't know if this relates at all to anything - I'm just
>>sayin...
>
>In B natural, IIRC. Effortless mastery of his instrument, quite apart
>from major bebop credentials. And if we're going to slam Woods for
>doing session work for pop musicians,
I ain't slamming him for that...no way no how. I'm slammin him for slammin her
I guess.
Hey I knew it was a bad idea when I hit send. Can I take it back?
Max Leggett
wrote:
>Max wrote:
>
>>On 10 Sep 2004 20:05:50 GMT, mondo...@aol.comwaht (Mondoslug1)
>>wrote:
>>
>>>Mark K. wrote:
>>>
>>>> How about Norah Jones to teach
>>>>jazz! singing ? Yeah! Right!
>>>
>>>I'm sure I'm making myself wide open to be slammed but Phil Woods playing on
>>>Billy Joel's "Just The Way You Are" probably did as much for his career as
>>>anything else. I don't know if this relates at all to anything - I'm just
>>>sayin...
>>
>>In B natural, IIRC. Effortless mastery of his instrument, quite apart
>>from major bebop credentials. And if we're going to slam Woods for
>>doing session work for pop musicians,
>
>I ain't slamming him for that...no way no how. I'm slammin him for slammin her
>I guess.
>
>Hey I knew it was a bad idea when I hit send. Can I take it back?
Sorry. We're going to have to hang draw and quarter you and then set
your entrails on fire to set an example. Nothing personal.
:-)
Mondoslug1
>Hey I knew it was a bad idea when I hit send. Can I take it back?
>
>Sorry. We're going to have to hang draw and quarter you and then set
>your entrails on fire to set an example. Nothing personal.
>
> :-)
Get in line. Hey that's pretty disgusting. Okay I stand by it then. g>>
Pat Smith
Byron Atkins
support for art/jazz/culture that the US possessed. When Carl
Jefferson died, Concord died a slow death. Strangely Howard Alden
still has a contract with Concord. What a shame they coundn't make a
one time deal for two legends (Woods and Shank). They have to make a
profit now, I guess that people like Woods and SHank and Jimmy Bruno
and all the other jazz guitarists aren't enough sales for them! Pablo
Records died when Norman Granz died, no one else seems to be willing
to support or subsidize jazz artists like Pass, Peterson etc. Most
everyone is own their own now, they have to produce their own CDs, and
market themselves. Patrons of the arts (expecially jazz) seems to be
shrinking.
It wasn't too long ago (Six years ago maybe)that Best Buy had a decent
selection of Jazz Cds, then they went the route of every other dumb
store and stocked only things like Kenny G, George Benson's vocal
CDs,Michael Jackson and other mass audience appeal figures. This US
culture is the same one that brought Wal Marts/K Marts/Targets to
every neighborhood, that shut mom and pop stores of all types (office
supply stores, clothing stores, steel manufacturers etc.) That's why
we have malls everywhere with practically the same stores, and chain
restaurants that are boring like Red Lobster, and Olive Garden, DOn
Juan's Mexican restaurant etc. etc. What a sad recipe for sameness,
predictibility, and no imagination---oh well! It's all bottom line,
it's a global economy so let's subcontract everything to Bangledesh or
Mongolia, Indonesia etc.
Byron Atkins
Byron Atkins
D.Onstenk
Yes, much of what you are saying can be read in Naomi Klein's "No Logo". The
global marketeers are turning the world into a cultural desert.
But we still have the Criss Cross label over here in the Netherlands.
#####
Gerry
Atkins <aqq...@dsl.pipex.com> wrote:
[ In case nobody mentions it to you, this post came through 3 times. ]
> Phil is right. Corporate culture is basically ruining the very
> limited support for art/jazz/culture that the US possessed. When Carl
> Jefferson died, Concord died a slow death. Strangely Howard Alden
> still has a contract with Concord. What a shame they coundn't make a
> one time deal for two legends (Woods and Shank). They have to make a
> profit now, I guess that people like Woods and SHank and Jimmy Bruno
> and all the other jazz guitarists aren't enough sales for them! Pablo
> Records died when Norman Granz died, no one else seems to be willing
> to support or subsidize jazz artists like Pass, Peterson etc.
Well it wasn't pure subsidy: they actually made money off these guys
and the guys made money off of them. And It seems that since forever a
decent jazz label was the result of one man's vision; we've been lucky
to have a good 8 or 10 of them over the years. I guess they're mostly
gone now. Hopefully they'll come again.
> Most everyone is own their own now, they have to produce their own
> CDs, and market themselves. Patrons of the arts (expecially jazz)
> seems to be shrinking.
We don't really have the necessary stats to support that. Sometimes I
agree sometimes (like now) I disagree that there is less *potential*
market for jazz. Quite the opposite the baby boomers see all to be at
a point where after generally no musical interest for years they are
returning. And rather the the rock, blues, boogie, pop whatever they
were listening to and buying 25 years ago, they are more open than ever
to what is constantly being called the "Great American Songbook".
Though it's not necessarily jazz, it's a clear entry point to same.
But to your point of producing their own CD's: the "new paradigm" of
unbelievably inexpensive audio production, mastering and production
makes what might have been a 30k job a 3k job. Remember when rock
bands spent 2 million in the studio? Sheesh! They couldn't only do
that now if they lived there for a year with room service.
So anybody can produce them (in theory), but the distribution is the
thing that's broken: it's not really in Tower/Virgin/Wherehouse et al.
Nor as the future market evolved to commercial downloading. It's still
somewhere in between. In the interim it seems there's no operational
distribution system satisfying or profitable for anybody quite yet.
I'm curious to find out where it will go.
> It wasn't too long ago (Six years ago maybe)that Best Buy had a
> decent selection of Jazz Cds, then they went the route of every other
> dumb store and stocked only things like Kenny G, George Benson's
> vocal CDs,Michael Jackson and other mass audience appeal figures.
The decision of a total of maybe 6 people.
> This US culture is the same one that brought Wal Marts/K
> Marts/Targets to every neighborhood, that shut mom and pop stores of
> all types (office supply stores, clothing stores, steel manufacturers
> etc.)
That's not culture, that's business.
> That's why we have malls everywhere with practically the same stores,
> and chain restaurants that are boring like Red Lobster, and Olive
> Garden, DOn Juan's Mexican restaurant etc. etc.
You know how to combat that system. Just like you combat political
forces you don't like. One vote at a time.
> What a sad recipe for sameness, predictibility, and no
> imagination---oh well! It's all bottom line, it's a global economy so
> let's subcontract everything to Bangledesh or Mongolia, Indonesia
> etc.
That seems to be the rationale that many find perfectly operable.
Certainly there's one cultural element; the populace has absorbed the
concept that anything done for "business reasons" or to "increase
profit and/or productivity" is good universally. The intent seems to
trump the result. Making more money is always good. Products and
populations are a secondary consideration.
One of the place the music industry has failed worst over the past
number of years was by locking into the concept that "brand loyalty" to
an artist was bad for business. When the artist had 2 or 3 successful
albums they'd demand too much money and knock down the companies
profit. Solution: get 5 or 6 artists with 1 really gread CD, then dump
them and get 5 or 6 other artists. Is that nuts? They decided that
approach was in their commercial interests. And it was. Can you
imagine the great music we would have lost in the 60's if everybody
only got the one album?
--
Invest wisely: Over the past 75 years, stocks have averaged annual gains of 2.3
percent under GOP administrations, compared with 9.5 under Democratic ones.
-- Jerry Heaster
Tom Lippincott
Byron Atkins <aqq...@dsl.pipex.com> wrote in message
news:9f2c319d.04091...@posting.google.com...
>
> It wasn't too long ago (Six years ago maybe)that Best Buy had a decent
> selection of Jazz Cds, then they went the route of every other dumb
> store and stocked only things like Kenny G, George Benson's vocal
> CDs,Michael Jackson and other mass audience appeal figures.
I agree with everything you're saying here except for one small point about
Best Buy: when they first opened a store near where I lived it was the same
thing. Great jazz (and other styles) cd selection and great prices. Then
after a few years things degenerated But I had a friend who used to be a
manager at Best Buy; he said the company's strategy has been the same all
along, which is to open a new store which offers a great cd selection with
good prices to attract people to the store. Once they're established and
have hoards of people coming in they scale back the cd business and get on
to the real reason they're there; sales of electronics and appliances. It's
still not much less depressing, but at least it's not an actual reflection
of a recent flagging in consumer interest in jazz cds. That lack of
interest has been there all along!
--
Tom Lippincott
Guitarist, Composer, Teacher
audio samples, articles, CD's at:
http://www.tomlippincott.com
8 string guitar audio samples at:
http://www.soundclick.com/bands/3/tomlippincottmusic.htm
JMK
news:20040910160550...@mb-m06.aol.com:
Wasn't that him as well on Steely Dan's "Doctor Wu"?
JMK
Skip Moy
independant these days. I'm seeing a lot more innovative Jazz on small
labels originating out of Europe and even Japan .- a lot of them feature
American artists as well. Dick has mentioned Criss Cross, others would be
Venus records from Japan, Quinton from Austria.
Also seems like a lot more independant jazz releases hitting the market
places too from smaller labels not associated with the big guns.
Skip
"D.Onstenk" <d.on...@chello.nl> wrote in message
news:2qgdauF...@uni-berlin.de...
Byron Atkins
> [ In case nobody mentions it to you, this post came through 3 times. ]
>
Sorry for the triple posting, but when I hit the button to post, it
sat there for five minutes w/o saying it had posted, I hit the button
again and and still nothing happened , then I hit it again, not
wanting to lose my comments, though I don't think I said anything that
was that important, as I'm sure many of us have the thoughts. Since my
post I've had some information from a friend, that casts a different
light on Shank's dismissal. John Clayton is replacing him, so it's not
all that bad.
Phil's letter is still relevant but it turns out that not all jazz
musicians have a stellar opinion of Shank being a warm friendly
person. I heard about an instance where Shanks was unwilling to give
one world class sax player any reconition or solo space though they
did a concert together. I have met and played on one occasion with
this sax player, but prefer to not mention his name out of courtesy. I
trust his word however.
> > It wasn't too long ago (Six years ago maybe)that Best Buy had a
> > decent selection of Jazz Cds, then they went the route of every other
> > dumb store and stocked only things like Kenny G, George Benson's
> > vocal CDs,Michael Jackson and other mass audience appeal figures.
>
> The decision of a total of maybe 6 people.
>
I lived in Little Rock Arkansas before moving to UK and the Best Buy
stores there suffered this fate. It seemed to be something of an
anomoly when Best Buy had a decent selection, they could still
undercut the Mom and Pop shops that were trying to stock some jazz.
> You know how to combat that system. Just like you combat political
> forces you don't like. One vote at a time.
Yeah but looks like Olive Gardens are here to stay.
>
> That seems to be the rationale that many find perfectly operable.
> Certainly there's one cultural element; the populace has absorbed the
> concept that anything done for "business reasons" or to "increase
> profit and/or productivity" is good universally. The intent seems to
> trump the result. Making more money is always good. Products and
> populations are a secondary consideration.
You are certainly correct about this---many people think that
working and making more money--however you accomplish it, is an end in
itself and honorable though you may destroy others in that process.
Solution: get 5 or 6 artists with 1 really gread CD, then dump
> them and get 5 or 6 other artists. Is that nuts? They decided that
> approach was in their commercial interests. And it was. Can you
> imagine the great music we would have lost in the 60's if everybody
> only got the one album?
I'm sure we're losing many great artists now (rock, folk and jazz and
other)because no one is signing them and they cannot promote
themselves effectively in the current culture.
Dick O mentioned Criss Cross records, I totally agree. It's great and
they sign some really good people, I even went to school with a few of
these people. ANother good label that survives because of one man's
committment (and financial resourses) is Steeplechase Records in
Copenhagen. Nils Winther (not sure of the spellling of his last name).
Byron
Mark Kleinhaut
Bud Answers:
FROM BUD'S ROOM—————————————
This, I hope, will be a monthly message to my friends and fans. It might
be more at times, and other times less. The topic this month is my departure
from Centrum in Port Townsend. I was Artistic Director there of my Workshop
and Festival for more than twenty years. I had anticipated that the interest
in the subject of my being fired from that position would have died down
by now, as it happened in July. But instead the emails, phone calls, letters,
and faxes have only increased. This is thanks not only to our legion of
friends world-wide, but to the marvellous and flattering letter written
on the subject and posted by Phil Woods. It seems that Phil's letter has
circled the world twice now! Many of you in your communications have asked
the question "What really happened?". Well, here it is.
About ten years ago, at my request, two advisory committees were established,
one for the workshop and one for the jazz festival. The members were mainly
people involved with jazz radio, newspaper and media types, concert producers,
former students - in short people who knew something about the jazz business.
Also at the meetings was one of Centrum's board members, who was probably
there only because the meetings were held at his house. His name is David
Marriott and at one time I considered him a friend. He has two sons who
are fine musicians in New York (also products of the workshop). Soon after
these meetings became an annual event, a recurring theme emerged from Mr.
Marriott. Our faculty was stale and stagnant, and so were the performances
which they donated in the clubs and mainstage in order to help Centrum hold
to its minuscule budget. Imagine, Pete Christlieb, George Cables, Bobby
Shew, Bob Florence, Ray Brown - STALE" Mr. Marriott requested that I tell
these faculty members to take a few years off and then maybe they could
come back. These people were on the faculty with ridiculously low salaries
because they are my friends and I asked them. Many have been with me for
twenty years. Do you think Bobby Shew would come back after being replaced
by Jon Faddis for two years? Do you think that musicians of this calibre
such as Jim Hall, Bennie Golsen, Jon Faddis, or any of the rest of them
at this level would even accept such a heavy duty week for so little compensation?
So the stage has now been set.
I had been too naive to see what was happening, despite warnings from my
wife, who has a better nose for treachery since she had been the victim
of it at Centrum herself years ago. David Marriott was the first of five
people mainly involved in my dismissal. The second was a man named Joseph
Wheeler, who is the founder of Centrum and was Executive Director at the
time I took over the workshop. He and I ran the workshop and festival all
the years it ran until he retired a few years ago. We were assisted by a
steady stream of "program directors" who for the most part wanted to be
chiefs, not Indians and didn't know squat about how to run a Jazz event.
After his retirement, Wheeler was officially uninvolved with Centrum until
he came onto the board.
Now enter the third member of the cabal. This is a person named Thatcher
Bailey who was hired in 2003 to be the new executive director of the foundation.
This person was on staff at Centrum years ago and I never could figure out
what he did. His primary claim to fame is founding a hospice in Seattle
for AIDS patients, a worthy cause but hardly preparation for running an
arts foundation. These are the three people that convinced the Centrum Board
that I had to go by telling them that I had indicated a wish to retire.
This is absolute bullshit. I feel like I am playing better than I have ever
played in my life. Aside from a couple of "old guy" aches and pains I have
never felt or been better. My wife Linda takes great care of me. She does
all the work in her office as well as assisting our agent with bookings
and promotion and answering thousands of emails every month. She also frequently
tours with my various bands as manager and "band mom". I have a million
reasons to be grateful to her. She has given me the time I needed to practice,
play, compose, and finally learn how to play the damned piano! As I said
in my departure speech from the stage, the only way the word "retire" has
passed my lips was when I bought new tires for my pickup (the one with the
clarinet in the gun rack).
When the true story began to surface the board members, not to mention our
faculty, students, and audiences, were horrified. This was a monumental
con job that was perpetrated for the sole purpose of replacing me with one
of my faculty members. The letter they sent three weeks before my event
stated that they were removing "all" of the main artistic directors. However,
in the end only myself and the man running the writer's workshop (who had
a long history of enmity with Bailey) were fired. A new "direction" was
required, they said. WHY? Our student numbers were climbing every year.
Our faculty and student surveys were glowing. Our audiences grew every year,
and the media raved over our musicians and our festival. So if it ain't
broke why fix it? Read on.
Now enter our last two members of the team. Two years ago a student at our
workshop offered to use a sum of her husband's large fortune to act as main
sponsor for my workshop and festival. Not long after she suddenly appeared
on the faculty roster, even though her ability level did not begin to approach
that of the other faculty members, all of whom are professional musicians,
and many of whom are leaders in their own right. We let this go by, being
grateful for the financial support.
So, about a year ago, our new sponsor placed a conference call to me while
I was on tour back east, a call that also included the executive director
at that time and her husband, and the program director, none of whom said
a word after saying hello. She proceeded to grill me in an hour long inquisition,
demanding to know my future plans, my thoughts about faculty, when I was
going to "finally" retire, etc. etc. Talk about completely out of line.
This woman was a student for years at my workshop. Where does she get off
thinking her money has bought her my event? This is a sponsor talking. Sponsors
don't talk. They hand you their money and wave to the audience and keep
their mouths shut about the artistic direction of an event. They certainly
don't - or should not - dictate policy or program mandates.
I knew the handwriting was on the wall, and was making plans accordingly.
Two years ago we were approached by an organization in the South west to
move our workshop and festival to that area. At that time I declined out
of loyalty to Centrum. After receiving the infamous letter, Linda called
these people. They said that they had just been waiting for the telephone
to ring. So it looks like within a few weeks we will have a major announcement
to make regarding the Bud Shank Jazz Workshop and Jazz Southwest Festival
for July 2005. We are moving on, and taking our faculty, our students, and
our reputation for the best Jazz camp in the USA with us. Thanks for caring.
We will be in touch.
Bud and Linda - September 2004
Copyright © 2004, Bud Shank. All Rights Reserved.
------------------------------------------------------------------------
The above article is an excerpt from the original document
which will shortly be available in full on Bud's own website
at www.budshankalto.com
Max Leggett
<markkl...@hotmail.com> wrote:
>
>Bud Answers:
>
>FROM BUD'S ROOM—————————————
It's a pretty appalling story, and rings all too true to anyone who's
worked in the non-profit arts sector. I sure hope things work out
right for Bud.
Mark Kleinhaut
hepkatre...@hotmail.com (Max Leggett) wrote:
>>>
>>Bud Answers:
>>
>>FROM BUD'S ROOM—————————————
>
>It's a pretty appalling story, and rings all too true to anyone who's
>worked in the non-profit arts sector. I sure hope things work out
>right for Bud.
>
Tru-dat!
Dan Adler
"Bossa Nova Years" for sale there, which is a reissue of a Pacific Jazz
album featuring young Joe Pass and Clare Fisher!
http://www.budshankalto.com/Product.html
Enjoy,
-Dan
http://danadler.com
Don Judy
"Dan Adler" <d...@danadler.com> wrote in message
news:ci4uit$i...@odah37.prod.google.com...
dj
Jimmy Bruno
Bay Records and Concord
"Max Leggett" <hepkatre...@hotmail.com> wrote in message
news:4145c079....@News.sprint.ca...
> On 13 Sep 2004 08:33:08 -0500, "Mark Kleinhaut"
> <markkl...@hotmail.com> wrote:
>
> >
> >Bud Answers:
> >
Bob Agnew
but for me it was Bud Shank and Laurindo Almeida!
"Dan Adler" <d...@danadler.com> wrote in message
news:ci4uit$i...@odah37.prod.google.com...
Don Judy
"Jimmy Bruno" <ji...@jimmybruno.com> wrote in message
news:HNudnROrhJA...@comcast.com...
> wow! bad scene. ironically, I am signe d to two labels at the moment:
Mel
> Bay Records and Concord
I'm excited about the switch considering the recent changes in Concord. When
is the solo record due? Are you still going to do another record with Joe
Beck?
dj
Clay Moore
> Phil is right. Corporate culture is basically ruining the very limited
> support for art/jazz/culture that the US possessed.
While we're in the "hell in a handbasket" mode allow me to chime in
about a recent drama going on here in the Twin Cities. We are
fortunate to have three radio stations that play jazz - well, four if
you count the "smooth jazz" station. The main one KBEM, has for many
years broadcast live perfomances from various venues and events, such
as the annual Hot Summer Jazz Festival, Jazz at the G, Cookin' at the
Dakota, and most recently every Thursday from Bar Lurcat. Two nights
ago I got the news from the program director that some new management
had made the decision that the live shows weren't "cost effective,"
and all but one were being cut. Bad enough news as it is, but here's
the kicker: Bar Lurcat had already paid upfront for a *year's* worth
of live broadcasts, so the station has to give them back the money.
Not only that, but Lurcat is owned by the D'Amico brothers, who own a
number of the Cities' finer restaurants. Think they are going lend
their support to the station or any of the station endorsed events in
the future?
> It wasn't too long ago (Six years ago maybe)that Best Buy had a decent
> selection of Jazz Cds, then they went the route of every other dumb
> store and stocked only things like Kenny G, George Benson's vocal
> CDs,Michael Jackson and other mass audience appeal figures.
I'll second Tom Lippencott's analysis of their business model, but I
also heard from a record buyer at a small store that Best Buy also had
in mind running the "mom and pop" stores out of business by having a
huge selection and initially selling their CD's at below wholesale
cost. THEN, once the competion was gone they could cut back their
stock and raise the prices. Seems to have worked pretty well...
Clay Moore
Kevin Van Sant
in message <b543d7b3.04091...@posting.google.com> :
>While we're in the "hell in a handbasket" mode allow me to chime in
>about a recent drama going on here in the Twin Cities. We are
>fortunate to have three radio stations that play jazz - well, four if
>you count the "smooth jazz" station.
Three.
_________________________________________
Kevin Van Sant
jazz guitar
http://www.kevinvansant.com
to buy my CDs, hear sound clips, see videos, and get more info.
Alternate site for recent soundclips
http://www.soundclick.com/bands/kevinvansant_music.htm
Sw...@nospam.com
wrote:
>On 17 Sep 2004 07:36:21 -0700, cl...@claymoore.com (Clay Moore) wrote
>in message <b543d7b3.04091...@posting.google.com> :
>
>>While we're in the "hell in a handbasket" mode allow me to chime in
>>about a recent drama going on here in the Twin Cities. We are
>>fortunate to have three radio stations that play jazz - well, four if
>>you count the "smooth jazz" station.
>
>
>Three.
>
Are you serious? Three stations?
Here in Philly we split a Jazz and Classical station so that's only a
half a station for each. Unbelievable.
Swyck
thomas
>
> musicians have a stellar opinion of Shank being a warm friendly
> person. I heard about an instance where Shanks was unwilling to give
> one world class sax player any reconition or solo space though they
> did a concert together.
Could be, but there should be no question that Shank is
one of the great living masters of this music.