By Robert Garofalo, Mark Elrod
;A Pictorial background of Civil warfare period Musical tools and army Bands КНИГИ ;ВОЕННАЯ ИСТОРИЯ Издательство: Pictorial Histories PublishingАвтор: Robert Garofalo, Mark ElrodЯзык: EnglishГод издания: 1993Количество страниц: 126ISBN: 0-933126-60-3Формат: pdfРазмер: 129,0 mbMany, many photographs of of Civil warfare tools RAPID1 RAPID2или IFOLDER1 IFOLDER2 zero
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Visualize this: with illumination restricted to a few naked light bulbs, the noise was incredible, like living with uninterrupted thunder. Whoever dreamed of sending the musicians to this hellhole to practice must have had a weird sense of humor. After a few attempts, during which I could not even hear my acoustic bass against the noise of the ship’s propellers, I gave up trying. There was hardly anywhere else to practice, but even then my masochism had its limits. But the trips were worth it to be able to experience the jazz scene rst hand.
A remarkable man. The atmosphere was very peaceful and Lennie always spoke in a quiet but 32 jazz visions authoritative voice. It set the tone. Often students would emulate his manner. One seldom saw Lennie rufed. This place was a musical haven and was Lennie’s studio for teaching and recording. ” Sessions were held regularly on Wednesdays and Saturdays – the only exceptions were when Lennie had outof-town engagements. We would often play for twelve hours or more, daylight arriving long before tiredness set in.
He could play so many different styles and never repeat the same musical idea. His creativity and musical ideas were endless. He used to turn the rhythm section around every night. Say we would be playing a blues. Bird would start on the eleventh bar. As the rhythm section stayed where they were, then Bird would play in such a way that it made the rhythm section sound like it was on 1 and 3 instead of 2 and 4. Nobody could keep up with Bird in those days except maybe Dizzy. Every time he would do this, Max [Roach] would scream at Duke [Jordan] not to try to follow Bird.