Heard about it, but funny as hell to read it straight from the autobiography:
Another thing that happened in 1986 that I think is worth mentioning is the incident between me and Wynton Marsalis. It was in Vancouver, Canada, at a festival we were both playing. We were playing at this outdoor amphitheater that was jam-packed. Wynton was scheduled to play the next night. So here I was playing and getting off on what I was doing. All of a sudden I feel this presence coming up on me, this body movement, and I see that the crowd is kind of wanting to cheer or gasp or something. Then Wynton whispers in my ear--and I'm still trying to play--"They told me to come up here."
I was so mad at him for doing that **** like that, I just said, "Man, get the **** off the stage." He looked a little shocked when I said it to him like that. After I said that, I said, "Man, what the **** are you doing up here on stage? Get the **** off the stage!" And then I stopped the band. Because we were playing some set pieces when he came up like that I was trying to give the band some cues. He wouldn't have fit in. Wynton can't play the kind of **** we were playing. He's not into that kind of style and so we would have had to make adjustments to the way he was going to be playing.
When Wynton did that to me, that showed me he didn't have no respect for his elders. First of all, I'm old enough to be his father and he had already talked real bad about me in the papers and on television and magazines and ****. He never apologized for the **** he said about me. We ain't tight friends, like me and Dizzy and Max and some other guys. As close as me and Dizzy are, I wouldn't ever do that to him or him to me. We would ask each other in front. Wynton thinks that music is about blowing people away up on stage. But music isn't about competition, but about cooperation, doing **** together and fitting in. It's definitely not about competition, at least not to me. That kind of attitude has no place in music as far as I'm concerned.
All you hip-hop heads; talking about microphones all day and how you rap on stages niqqa. Talk about some motherfukcin guns niqqa. Talk about sellin some dope niqqa.
Excerpted from an article by Andrew Solomon in the New York Times Magazine, Feb. 9, 1997
"Wynton imitates other people's styles too well," he says. "You can't learn to imitate everyone else without a real deficit. I've never heard anything Wynton played sound like it meant anything at all. Wynton has no voice and no presence. His music sounds like a talented high-school trumpet player to me. He plays things really, really,really badly that you cannot screw up unless you are a bad player. I've felt embarrassed listening to him, and I'm white. Behind his humble speech, there is an incredible arrogance. And for a great black player who talks about the blues - I've never heard Wynton play the blues convincingly, and I'd challenge him to a blues standoff any time. He's jazzy the same way someone who drives a BMW is sporty."
__________________ "And those who create out of the holocaust of their own inheritance anything more than a convienient self made tomb shall be known as Survivors."
Excerpted from an article by Andrew Solomon in the New York Times Magazine, Feb. 9, 1997
"Wynton imitates other people's styles too well," he says. "You can't learn to imitate everyone else without a real deficit. I've never heard anything Wynton played sound like it meant anything at all. Wynton has no voice and no presence. His music sounds like a talented high-school trumpet player to me. He plays things really, really,really badly that you cannot screw up unless you are a bad player. I've felt embarrassed listening to him, and I'm white. Behind his humble speech, there is an incredible arrogance. And for a great black player who talks about the blues - I've never heard Wynton play the blues convincingly, and I'd challenge him to a blues standoff any time. He's jazzy the same way someone who drives a BMW is sporty."
pianist ether
__________________
When Keepin It Real Goes Wrong:
Quote:
Originally Posted by S3xy no Jutsu
I had a hamster since like January or so (compensation for not having a dog) and I realized I didn't want it. Last week, I killed it by strangling it with a piece of thread.
__________________ "And those who create out of the holocaust of their own inheritance anything more than a convienient self made tomb shall be known as Survivors."
i never knew dude was completely white though. that little fro always confused me.
__________________
When Keepin It Real Goes Wrong:
Quote:
Originally Posted by S3xy no Jutsu
I had a hamster since like January or so (compensation for not having a dog) and I realized I didn't want it. Last week, I killed it by strangling it with a piece of thread.
on another note, he needs o release more of his solo recordings from the 70s...
keiths gospel/blues playing = 10/10
__________________ "And those who create out of the holocaust of their own inheritance anything more than a convienient self made tomb shall be known as Survivors."
Heard about it, but funny as hell to read it straight from the autobiography:
Another thing that happened in 1986 that I think is worth mentioning is the incident between me and Wynton Marsalis. It was in Vancouver, Canada, at a festival we were both playing. We were playing at this outdoor amphitheater that was jam-packed. Wynton was scheduled to play the next night. So here I was playing and getting off on what I was doing. All of a sudden I feel this presence coming up on me, this body movement, and I see that the crowd is kind of wanting to cheer or gasp or something. Then Wynton whispers in my ear--and I'm still trying to play--"They told me to come up here."
I was so mad at him for doing that **** like that, I just said, "Man, get the **** off the stage." He looked a little shocked when I said it to him like that. After I said that, I said, "Man, what the **** are you doing up here on stage? Get the **** off the stage!" And then I stopped the band. Because we were playing some set pieces when he came up like that I was trying to give the band some cues. He wouldn't have fit in. Wynton can't play the kind of **** we were playing. He's not into that kind of style and so we would have had to make adjustments to the way he was going to be playing.
When Wynton did that to me, that showed me he didn't have no respect for his elders. First of all, I'm old enough to be his father and he had already talked real bad about me in the papers and on television and magazines and ****. He never apologized for the **** he said about me. We ain't tight friends, like me and Dizzy and Max and some other guys. As close as me and Dizzy are, I wouldn't ever do that to him or him to me. We would ask each other in front. Wynton thinks that music is about blowing people away up on stage. But music isn't about competition, but about cooperation, doing **** together and fitting in. It's definitely not about competition, at least not to me. That kind of attitude has no place in music as far as I'm concerned.
Don't you just get sick when you're watching some kind of documentary about jazz or a jazz musician and Wynton pops up on the screen trying to sound all intellectual and sh-t--talking about the difference between "real jazz" or "real music" and "garbage"--the difference between the Gershwins and the Beatles? I hate that. I think he was kidnapped as a baby and raised by jazz critics from the bebop era. He's like a jazz fundamentalist or something like that.
Before this incident, he had accused Miles of "Tomming" and "co-signing white boys" because had electric instruments in his band. I think he even got in a fight with Branford because Branford was doing progressive sh-t with hip hop and all that.
Wynton should have known better. Miles cussed a lot of people out for much less.
While on this subject, a similar situation happened between Miles and Archie Shepp in the 60s. (I don't know if it's in the autobiography but it's in the biography by Ian Carr.) Shepp had asked if he could sit in with Miles' band and Miles said no. Near the beginning of the set, Shepp came out anyway and started playing immediately. But Miles didn't cuss him out. He just walked off stage and never came back. I think Shepp is a big man. I guess Shepp had him shook.
Excerpted from an article by Andrew Solomon in the New York Times Magazine, Feb. 9, 1997
"Wynton imitates other people's styles too well," he says. "You can't learn to imitate everyone else without a real deficit. I've never heard anything Wynton played sound like it meant anything at all. Wynton has no voice and no presence. His music sounds like a talented high-school trumpet player to me. He plays things really, really,really badly that you cannot screw up unless you are a bad player. I've felt embarrassed listening to him, and I'm white. Behind his humble speech, there is an incredible arrogance. And for a great black player who talks about the blues - I've never heard Wynton play the blues convincingly, and I'd challenge him to a blues standoff any time. He's jazzy the same way someone who drives a BMW is sporty."
I agree 100% with Jarrett--well almost. I haven't listened to Wynton enough to hear him ever make a mistake.
Speaking of Jarrett, does anybody have Miles' Cellar Door Sessions? What are the best tracks on it? (I don't want the whole thing. I just want to get the best tracks.)
I finally got to pick this up last night and can't wait to read thru it all.
Just skimming, some of this stuff about Billy Eckstine is hilarious. . .
Quote:
Originally Posted by Miles Davis
A lot of people thought that because B was so handsome that he was soft. But B was one of the toughest mother****ers I ever met. One time we were in Cleveland or Pittsburgh and everybody was waiting on B outside his hotel in the bus, ready to go. We were about an hour late in leaving. Now here comes B out of the hotel with this fine woman. He said to me, "Hey, ****, this is my woman."
She said something like, "I got a name, Billy, tell him my name." B turned around and said, "*****, shut up!" He slapped the **** out of her right there.
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The famous Miles cussing out Wynton scenario
