The Collected DTM Questionnaires (including Bill McHenry's new one)
We sent out a questionnaire to musicians in December 2006. Bill McHenry just handed in his detailed response last week.
Musician Questionnaire for Do The Math
These are supposed to be totally subjective responses. Answer with one, two, many, or none.
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Bill McHenry
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. "Pather Panchali' (from The Apu Trilogy) Ravi Shankar music + Satyajit Ray director "Dead Man" Neil Young music + Jim Jarmuch Director
2. TV theme. "The Waltons"
3. Melody. "Central Park West" by John Coltrane and "Passport" by Charlie Parker - I think our two greatest saxophonists are underrated composers. I also love the intense string melody that comes about 5 minutes into Bartok's Concerto for Orchestra
4. Harmonic language. COLTRANE playing off a dominant chord over a minor (G7 over D-)
or a dominant over a phrygian (G7 over E Phryg)...Ravel "String Quartet" opening theme- I know it's in F but it has qualities of minor and suspended chords...Woody Shaw Playing intervals over chord changes, and not resolving them...Ornette Coleman "Skies of America" the big "unison" voicings of the orchestra...Dexter Gordon playing a 2-5-1 and using a tritone sub on the 5...Nikhil Banerjee, Indian Sitarist - I am so moved by the timing of how he reveals what notes are in the raga...Descending bass lines from Motown Records; ex. F major with the bass going F, E, D, C etc...Stevie Wonder "Something to Say" from the album "Signed Sealed Delivered"...I also like playing a major third up from the key - I think you (Ethan) told me that was Ornette's first exposure to leaving diatonic thought when he was exposed to the bridge of Rhythm Changes...In general- I belive that pitches have specific effects on the listener that are not subjective- and that every harmony has a non-verbal meaning behind it.
5. Rhythmic feel. Coltrane/Elvin from "India" James Brown "Mother Popcorn" make sure you get both Pt. one and Pt. two to hear Maceo on tenor
6. Hip-hop track Two entries, with lyrics!
Sir Mix-alot "Baby Got Back"
[Intro]
Oh, my, god. Becky, look at her butt.
It is so big. *scoff* She looks like,
one of those rap guys' girlfriends.
But, y'know, who understands those rap guys? *scoff*
They only talk to her, because,
she looks like a total prostitute, 'kay?
I mean, her butt, is just so big. *scoff*
I can't believe it's just so round, it's like,
out there, I mean - gross. Look!
She's just so ... black![Sir Mix-a-Lot]
I like big butts and I can not lie
You other brothers can't deny
That when a girl walks in with an itty bitty waist
And a round thing in your face
You get sprung, wanna pull out your tough
'Cause you notice that butt was stuffed
Deep in the jeans she's wearing
I'm hooked and I can't stop staring
Oh baby, I wanna get wit'cha
And take your picture
My homeboys tried to warn me
But with that butt you got makes me feel so horny
Ooh, Rump-o'-smooth-skin
You say you wanna get in my Benz?
Well, use me, use me
'Cause you ain't that average groupy
I've seen them dancin'
The hell with romancin'
She's sweat, wet,
Got it goin' like a turbo 'Vette
I'm tired of magazines
Sayin' flat butts are the thing
Take the average black man and ask him that
She gotta pack much back
So, fellas! (Yeah!) Fellas! (Yeah!)
Has your girlfriend got the butt? (Hell yeah!)
Tell 'em to shake it! (Shake it!) Shake it! (Shake it!)
Shake that healthy butt!
Baby got back!(LA face with Oakland booty)
Baby got back![Sir Mix-a-Lot]
I like 'em round, and big
And when I'm throwin' a gig
I just can't help myself, I'm actin' like an animal
Now here's my scandal
I wanna get you home
And ugh, double-up, ugh, ugh
I ain't talkin' bout Playboy
'Cause silicone parts are made for toys
I want 'em real thick and juicy
So find that juicy double
Mix-a-Lot's in trouble
Beggin' for a piece of that bubble
So I'm lookin' at rock videos
Knock-kneeded bimbos walkin' like hoes
You can have them bimbos
I'll keep my women like Flo Jo
A word to the thick soul sistas, I wanna get with ya
I won't cuss or hit ya
But I gotta be straight when I say I wanna *fuck*
Til the break of dawn
Baby got it goin' on
A lot of simps won't like this song
'Cause them punks like to hit it and quit it
And I'd rather stay and play
'Cause I'm long, and I'm strong
And I'm down to get the friction on
So, ladies! {Yeah!} Ladies! {Yeah}
If you wanna role in my Mercedes {Yeah!}
Then turn around! Stick it out!
Even white boys got to shout
Baby got back!Baby got back!
Yeah, baby ... when it comes to females, Cosmo ain't got nothin'
to do with my selection. 36-24-36? Ha ha, only if she's 5'3".[Sir Mix-a-Lot]
So your girlfriend rolls a Honda, playin' workout tapes by Fonda
But Fonda ain't got a motor in the back of her Honda
My anaconda don't want none
Unless you've got buns, hun
You can do side bends or sit-ups,
But please don't lose that butt
Some brothers wanna play that "hard" role
And tell you that the butt ain't gold
So they toss it and leave it
And I pull up quick to retrieve it
So Cosmo says you're fat
Well I ain't down with that!
'Cause your waist is small and your curves are kickin'
And I'm thinkin' bout stickin'
To the beanpole dames in the magazines:
You ain't it, Miss Thing!
Give me a sista, I can't resist her
Red beans and rice didn't miss her
Some knucklehead tried to dis
'Cause his girls are on my list
He had game but he chose to hit 'em
And I pull up quick to get wit 'em
So ladies, if the butt is round,
And you want a triple X throw down,
Dial 1-900-MIXALOT
And kick them nasty thoughts
Baby got back!(Little in the middle but she got much back) [4x]
Also I like Ludacris - "Whats Your Fantasy"
Ludacris-
Yeah yeah yeah yeah
Give it to me now, give it to me now
Give it to me now, give it to me now
Shawnna-
Yeah yeah yeah yeah
Give it to me now, give it to me now
Give it to me now, give it to me now(chorus) x2
Ludacris & shawnna-
I wanna li li li lick you from your head to your toes
And I wanna move from the bed down to the down to the to the floor
I wanna ah ah I make it so good you don’t wanna leave
But I got to kn kn kn know what’s your fan-ta-syLudacris-
I wanna get in the georgia dome on the fifty yard line
When the dirty birds kick the tree
And if you like in the club we can do it
In the dj booth or in the back of the vip
Whip cream with cherries, strawberries on top
Lick it don’t stop
With the doe lock
Don’t know while the boat rock we go buy
Robots or they got to wait till the show stop
Or how ’bout on the beach with black sand
Lick up your thighs and call me pac man
Table top or just give me a lap dance
The rock to the park to the flat lands
That man ludacris (woo) in the public bathroom
Or back or a classroom
How ever you want it lover lover gonna tap that ass soon
See I cast ’em and I past ’em get a tight grip and I grasp ’em
I flash ’em and out last ’em
And if ain’t good then I trash ’em while you stash ’em
I’ll let ’em free
And the tell me what they fantasy
Like up on the roof roof tell yo boyfriend not to be mad at me(chorus)
I wanna get you in the bath tub
With the candle lit you give it up till they go out
Or we can do it on stage of the ludacris concert
Cause you know I got sold out
Or red carpet dick could just roll out
Go ’head and scream you can’t hold out
We can do it in the pouring rain
Runnin the train when it’s hot or cold out
How ’bout in the library on top of books
But you can’t be too loud
You wanna make a brother beg for it
Give me tlc ’cause you know I be too proud
We can do it in the white house
Tryna make them turn the lights out
Champaign with my campaign let me do the damn thing
What’s my name, what’s my name, what’s my name a sauna, jacuzzi
In the back row at the movie
You can stratch my back and rule me
You can push me or just pull me
On hay in middle of the barn (woo) rose pedals on the silk sheets uh
Eating fresh fruits sweep yo woman right off her feet(chorus)
I wanna get you in the back seat windows up
That’s the way you like to fuck fog up all alert
Rip the pants and rip the shirt
Ruff sex make it hurt
In the garden in the dirt
Roll around georgia brown that’s the way I like it twerk
Legs jerk, over worked, under paid, don’t be afraid
In the sun or in the shade
On the top of my escalade
Baby your girl and my friends can trad
Tag team off the rope, on the ocean or in the boat
Factores, or hundred spokes
What ’bout in the candy sto’ that chocolate chocolate make it melt
Whips and chains, handcuffs, smack a little bootie up with my belt
Scream help play my game
Dracula man I’ll get my fangs horse back I’ll get my reigns
School teacher let me get my grades(chorus) x4
Thanks also to Tribe called Quest/Pharcyde style I listened to in '92 when I was playing in a funk band.
7. Classical piece. Faure "Requiem"- I sang the "Pie Jesu" solo as a boy soprano. Incredible mood.
8. Smash hit. "Allentown" Billy Joel, "Sara Smile" Hall and Oates
9. Jazz album. Carmen McRae "Bittersweet"
10. Non-American folkloric group. Fela Kuti
11. Book on music. Uhhh...... books about music? "War and Peace"- that's a good book. Actually, I did like this one book about interviews with composers and they interview Brahms and have a talk about divine inspiration. When I was 18 I read Miles' book almost straight through. "Notes and Tones" by Art Taylor is good. But, those are all books about life. If you're into musicians as celebrities those are good books. But it's not like Miles put out a book of his pieces in his own manuscript. There are books on music itself that I learned more from- I like H. Klose's finger exercise book (http://www.saxlessons.com/lessons.htm) and the Charlie Parker Omnibook.
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Pink Floyd "Wish You Were Here," Jimi Hendrix "Electric Ladyland," Led Zeppelin "Houses of the Holy"
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Coleman Hawkins. Joe Maneri. Don Byas. George Garzone. Some overloooked contemporary guys: Andrew D'Angelo,Ned Gould, Ellery Eskelin, Doug Yates. I think David Sanborn is underrated because he plays rock but I love his playing and sound- I like vocal sounding saxophonists. Oliver Nelson was nice like that too- he could really hold on to a note. Dewey Redman gets a lot of love on this blog, and I'll chime in there too.
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really):
The Melvins "Stoner Witch" (I own a copy on pink vinyl) but I don't wish it had been a hit. It's a badass rock album though. Also - I've been listening to a cassette in my car for about a year now- Otis Redding - "The Immortal Otis Redding"- over and over and over again. I love every note of it.
D) Name a favorite drummer, and an album to hear why you love that drummer: Well I can't play favorites with something as awesome as drumming , but a drummer showcase album is Philly Joe Jones on "Kelly at Midnight" w/Wynton Kelly trio- Philly gives a clinic on that one + is nice and high in the mix. I heard that it was his favorite documentation of himself.
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It's a good opportunity to reprint the rest of the terrific responses too, and have them all housed at one post.
David King
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Dirty Harry, Solaris (Soderberg remake), The Falcon and the Snowman.
2. TV theme. Hill Street Blues, The Twilight Zone
3. Melody. "Lonely Woman" Ornette Coleman, "Close To You" The Carpenters, "Cryin'" Roy Orbison.
4. Harmonic language. Beach Boys "God Only Knows" Wayne Shorter "Pinocchio"
5. Rhythmic feel. Elvin Jones on "A Love Supreme" with the Coltrane quartet, "Chicken Grease" D'Angelo from"Voodoo" (?est Love on drums). John Bonham "When the Levee Breaks" Led Zeppelin.
6. Hip-hop track. "Welcome to the Terror Dome" Public Enemy, "Flavor in Ya Ear" Craig Mack
7. Classical piece. Symphony #5 by Valentin Silvestrov, Symphony #3 by Charles Ives
8. Smash hit. "Hollaback Girl" Gwen Stefani, "King Of Pain" The Police, "Betty Davis Eyes" Kim Carnes
9. Jazz album. "Miles Smiles" by Miles Davis, "Fort Yawuh" by Keith Jarrett
10. Non-American folkloric group. "Kebyar Gong Ensemble" from Bali
11. Book on music. "Brush Artistry" by Philly Joe Jones
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: "The Power Station" The Power Station,"I Sing the Body Electric" Weather Report, "Black Codes (From The Underground)" Wynton Marsalis.
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Gerald Cleaver, Tony Thompson, Phil Collins, Late period Tony Williams, Phil Gould.
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Led Zeppelin "Presence"
D) Name a favorite drummer, and an album to hear why you love that drummer: Paul Motian on his own album"One Time Out"
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Ethan Iverson
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Vertigo, Point Blank
2. TV theme. Dr. Who, Remington Steele, Buffy the Vampire Slayer
3. Melody. Slow movement of Mozart’s 21st concerto, ”Bloomdido” by Charlie Parker
4. Harmonic language. Thelonious Monk’s solo version of “I Should Care,” György Ligeti’s “Melodien”
5. Rhythmic feel. James Brown’s “Give It Up or Turnit A Loose,” Charlie Haden and Paul Motian on “Gotta Get Some Sleep” w/Keith Jarrett and Dewey Redman
6. Hip-hop track. “I Left My Wallet in El Segundo” by A Tribe Called Quest
7. Classical piece. “Concerto for Two Pianos” by Igor Stravinsky, “Brandenburg Concerto #4” by J.S. Bach, ”General William Booth Enters Into Heaven” by Charles Ives.
8. Smash hit. “Flowers on the Wall” by the Statler Brothers
9. Jazz album. “Speak No Evil” by Wayne Shorter, “Thelonious Monk Trio” (Prestige), "And His Mother Called Him Bill" by Duke Ellington
10. Non-American folkloric group. Los Muñequitos de Matanzas
11. Book on music. “The Romantic Generation” by Charles Rosen, “Concerto Conversations” by Joseph Kerman
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: “Here and Now” by Hampton Hawes, “A Clockwork Orange (Soundtrack)” by Wendy Carlos, "The Best of Freddie Slack and Ella Mae Morse"
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Donald Lambert, Art Hodes, Lowell Davidson, Django Bates
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): American Music Club, “Mercury”
D) Name a favorite drummer, and an album to hear why you love that drummer: Tony Williams; on Ron Carter’s “Etudes”
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Guillermo Klein
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. “The Lover,” Gabriel Yared's music: early 90's film, and the one that they caught a guy with an small amount of heroin and they sent him to jail in Istanbul--I think in Spanish it is called "Espresso de Medianoche" (Late Coffee)
2. TV theme. El Inspector (The French Commissioner)
3. Melody. “Modinha,” Jobim, “Mama Quel Vino e Generoso” (Cavalleria Rusticana, Pietro Mascagni)
4. Harmonic language. Gil Evans, Messiaen, Charly Garcia, Duke, McCoy-Coltrane as one.
5. Rhythmic feel. Chuck Berry
6. Hip-hop track. “Girl” (Destiny’s Child, I think--is this hip hop? It goes from F#minor 9 to Aminor 6...nice melody that hooked me, I don't have a clue about the lyrics though.
7. Classical piece. Symphony of Psalms (Stravinsky)
8. Smash hit. “Synchronicity” by The Police
9. Jazz album. Speak No Evil
10. Non-American folkloric group. Los Muñequitos de Matanzas
11. Book on music. Los de Maria del Carmen Aguilar, Manual de orquestacion de Walter Piston, The story of the fugue (Mann)
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: From Pink Floyd’s ATOM HEART MOTHER, "Alan's Psychedelic Breakfast"… Alan's Breakfast was the sound I was listening to at 14...I like that piece---but I haven’t heard it since, who knows what I’d think of it now.
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Albert Sanz, more than underrated, unknown still by many of our colleagues. Richard Nant, composer, not known as a leader in the jazz market.
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): (no answer)
D) Name a favorite drummer, and an album to hear why you love that drummer: The drummer of Sly and the Family Stone, “Fresh,” the weight of space.
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Reid Anderson
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Solaris (Cliff Martinez)
2. TV theme. The Rockford Files
3. Melody. Samuel Barber, Concerto for Violin and Orchestra op. 14, first movement
4. Harmonic language. The Ramones
5. Rhythmic feel. Autechre 'Gelk' from Peel Sessions 2
6. Hip-hop track. “Get Ur Freak On” - Missy Elliot
7. Classical piece. Beethoven Symphony no. 5
8. Smash hit. “Back in Black” – AC/DC
9. Jazz album. “John Coltrane and Johnny Hartman”
10. Non-American folkloric group. Cachao All Stars
11. Book on music. Gradus ad Parnassum (Josef Fux)
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Built to Spill “Perfect from Now On”
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Jimmy Garrison
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): every Elliot Smith record
D) Name a favorite drummer, and an album to hear why you love that drummer: Paul Motian on Keith Jarrett's “Eyes of the Heart”
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Brad Mehldau
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. X-Men: The Last Stand
2. TV theme. Eight is Enough
3. Melody. Schubert Piano Trio in E-Flat, D929, 2nd movement: Andante con moto
4. Harmonic language. 1st movement, Prokofiev Piano Concerto #2 in G Minor
5. Rhythmic feel. McCoy Tyner, Butch Warren and Billy Higgins, and the whole band more generally on "Soft Impressions" from Hank Mobley's "Straight No Filter." (The songs are mis-titled on this record; but this is obviously meant to be the title for the medium-up tune that is similiar to Coltrane's "Impressions.")
6. Hip-hop track. Erik B. & Rakim: "Microphone Fiend"
7. Classical piece. Richard Strauss, "Metamorphosen"
8. Smash hit. Supertramp: "Goodbye Stranger"
9. Jazz album. Miles Davis: "Relaxin"
10. Non-American folkloric group. The Musicians of Lviv [Ukrainian vocal, strings, accordion]
11. Book on music. Charles Rosen - I'll put "The Classical Style" just because Ethan already put "The Romantic Generation"!
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Eric Dolphy/Booker Little “Live at the Five Spot Vols. I & II”
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Mal Waldron
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Sunny Day Real Estate: “Rising Tide”
D) Name a favorite drummer, and an album to hear why you love that drummer: Jimmy Cobb: Wes Montgomery “Live at the Half Note”
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Jason Moran
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Last Year at Marienbad - Francis Seyrig
2. TV theme. The Price is Right (bass line)
3. Melody. ”When I am Laid In Earth” - Henry Purcell
4. Harmonic language. “Sleep” - Peter Warlock
5. Rhythmic feel. “Buck" by Nina Simone - Bernard Purdie on drums
6. Hip-hop track. “Shook Ones Pt. 3” - Mobb Deep
7. Classical piece. Chamber Concerto - Alban Berg
8. Smash hit. “Owner of a Lonely Heart” - YES
9. Jazz album. Earl Hines “57 Varieties”
10. Non-American folkloric group. DouDou N'diaye Rose
11. Book on music. - any book of empty manuscript paper
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Jeff Ballard
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Super Fly (Curtis Mayfield!), Abbot and Costello meet the Werewolf
2. TV theme. The (later) Odd Couple theme; The Price is Right; Sanford and Son
3. Melody. “Lonely Woman”; “Kathelin Gray” (both by Ornette Coleman)
4. Harmonic language. Dewey Redman’s solo on "The Bat" off of Pat Metheny’s "80/81"; The 12th Psalm of Alfred Schnittke's “Psalms of Repentance”
5. Rhythmic feel. Sufi Drumming of Senegal -Tabar Wolof; Gnawa music of North Africa; Tony Williams and Ron Carter’s hook up on any and every Miles Davis recording; John Lee Hooker recording called “The Best of Lee Hooker I Feel Good”(from a Paris recording in Nov ‘69); Joseph Zigaboo Modeliste playing with The Meters; and Elvin. (Jones of course!)
6. Hip-hop track. “The Whole World’s Lookin’ At Me” by Busta Rhymes; “Everyday” by Angie Stone; “There’s Something Goin’ On, Proceed” by The Roots
7. Classical piece. Bach Cello Suite #1 In G, Allemande played by Pablo Casasl; The 12th Psalm of Alfred Schnittke's “Psalms of Repentance”
8. Smash hit. “Sexual Healing,” Marvin Gaye (was that a “smash” hit?)
9. Jazz album. Can’t pick only one. Off the top of my head: “Four and More,” “Crescent,” “Sun Ship”....
10. Non-American folkloric group. Bob Marley (Jamaica); Nusrat Fateh Ali Khan (Pakistan); Los Muñequitos de Mantanzas
11. Book on music. Sidney Bechet autobiography; Baby Dodds autobiography; Miles Davis autobiography
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Chicago:“Chicago Transit Authority”; “Best Of Bobby Blue Bland”
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Milford Graves; Donald Bailey; Stevie Wonder
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Stevie Wonder’s “Music Of My Mind,” Miles Davis’ “Bitches Brew”
D) Name a favorite drummer, and an album to hear why you love that drummer: Billy Higgins on “Which Way is East” with Charles Lloyd; Billy Higgins on Hank Mobley’s “A Slice of the Top”; (ALL of Billy’s recordings are the greatest!) Ed Blackwell on “Red and Black” with Dewey Redman, (also all The Old and New Dream band’s records); Jack DeJohnette on “Tetragon” (Joe Henderson), on “Bitches Brew” (Miles), on “Song X” and “80/81” (Pat Metheny), on “Time On My Hands” (John Scofield), on “On the Corner” (Miles)...ahh hell! on everything he’s ever recorded and will record; Paul Motian on everything he’s recorded and will; Levon Helms on “Music from Big Pink”; Roy Haynes on “Now He Sings, Now He Sobs” (Chick Corea), “A Different Drummer” (Coltrane), “Out in the Afternoon” (R. Roland Kirk), “Reaching Forth” (M. Tyner) and so on and on and ooooon; Steve Gadd playing “Aja” (Steely Dan); Jo Jones on “Newport Rebels” (Mingus); Billy Hart on “On The Corner” (Miles Davis), “Enchance” (Billy Hart); Stevie Wonder on “Music of My Mind” (S. Wonder); Tony Williams on anything he has played on; ditto for Elvin (Jones of course!); Art Blakey on “Caravan” and “Ugetsu”; Mitch Mitchel on Hendrix’s “Axis: Bold As Love”; John Bonham on everything he’s recorded; Milford Graves on “Pieces of Time”; and Donald Bailey on whatever you can find him on. I could go on.........
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Ben Street
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. 400 Blows, Shoot the Piano Player,
Pather Panchali
2. TV theme. "Welcome Back, Kotter" - John B. Sebastian, incidental music for "The Big Valley"- Elmer Bernstein?
3. Melody. Rodgers and Hammerstein – “I Have Dreamed,” Harry Richman/ Jack Meskill/ Pete Wendling - “There's Danger in Your eyes, Cherie”
4. Harmonic language. Arnold Schoenberg - Five Pieces
For Orchestra
5. Rhythmic feel. Roy Haynes/Percy Heath- "Dearly
Beloved” (from "The Sound of Sonny")
6. Hip-hop track. “Ms. Fat Booty” from “Black on Both Sides”-
Mos Def
7. Classical piece. “Etude in E flat Op. 10 #6” - Chopin; “Prelude and Fugue # 14” - Bach
8. Smash hit. “Someone Saved My Life Tonight” - Elton
John, “No More I Love You's” - Annie Lennox
9. Jazz album. “Dogon A.D.” - Julius Hemphill, “Trickles”
- Steve Lacy, Roswell Rudd, Kent Carter, Beaver Harris
10. Non-American folkloric group. Grupo AfroCuba de
Matanzas
11. Book on music. Art Taylor – “Notes and Tones”
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Clare Fischer – “Thesaurus”; Bill Evans, “Affinity”
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Butch Warren, Jimmy Garrison, Ernie Shephard
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Beekeeper- "Anywhere
Will Do"
D) Name a favorite drummer, and an album to hear why you love that drummer: Billy Higgins on Pat Metheny’s “Rejoicing”
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Fred Hersch
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. "Prizzi’s Honor" (Alex North); "Altered States" (John Corigliano); "City Lights" (Charles Chaplin)
2. TV theme. "The Wild Wild West"
3. Melody. Aria from Cantata “Wachet Auf” (Bach), "Miyako" (Wayne Shorter), "Tomorrow Is The Question" (Ornette Coleman)
4. Harmonic language. 4-part writing (string quartets, choral music)
5. Rhythmic feel. “Serpentine Fire” (Earth, Wind & Fire); “Big Stuff” (Peter Gabriel); “Aqui Oh!” (Toninho Horta)
6. Hip-hop track. (no answer)
7. Classical piece. Brahms Piano Trio #1 in B major; Stravinsky “Dumbarton Oaks” Concerto; Brandenberg Concerti
8. Smash hit. (no answer)
9. Jazz album. Sonny Rollins “Live at the Village Vanguard”; “Mingus,Mingus, Mingus, Mingus”; Thelonious Monk “Alone in San Francisco”
10. Non-American folkloric group. Le Mystere des Voix Bulgares
11. Book on music. “Glenn Gould: Music and Mind” (Geoffrey Paysant); Stravinsky “Poetics of Music”
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Joni Mitchell “Blue”; Stevie Wonder “Talking Book”;
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Art Lande, John Taylor, Frederic Rzewski
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): (no answer)
D) Name a favorite drummer, and an album to hear why you love that drummer: Elvin Jones “A Love Supreme”
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Christopher O’Riley
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. "The Long Goodbye" – John Williams w/Johnny Mercer; "Psycho" by Bernard Herrmann
2. TV theme. both Marius Constant’s and Bernard Herrmann’s themes for "The Twilight Zone"
3. Melody. The Prologue from Stravinsky’s "Apollon Musagete"
4. Harmonic language. Scriabin circa Op 74 Preludes, Stravinsky circa "Persephone," Jacky Terrasson on Jon Hassell’s "Fascinoma," Bill Evans on Miles’ "Kind of Blue"
5. Rhythmic feel. Miles’ "Great Expectations," Radiohead’s "Videotape," Aphex Twin through most of "Drukgs"
6. Hip-hop track. Everything by Mos Def
7. Classical piece. Prokofiev; Piano Concerto #2, Beethoven: Sonata #32, Op. 111, Shostakovich: Preludes & Fugues, Op 87
8. Smash hit. "Hey Ya" by OutKast, "God Only Knows" by the Beach Boys
9. Jazz album. Jon Hassell: "Fascinoma," Miles Davis: "Kind of Blue," Fred Hersch: "Let Yourself Go"
10. Non-American folkloric group. Ladysmith Black Mambazo
11. Book on music. "Shostakovich: A Life Remembered" by Elizabeth Wilson, "The Inner Game of Tennis"; "Mozart" by Wolfgang Hildesheimer, "The Musical Dialogue" by Nikolaus Harnoncourt, "Schumann" by Peter Ostwald, "Piano Pieces" by Russell Sherman
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Prokofiev; Sonata #8 played by Sviatoslav Richter; "The Inner Mounting Flame" – Mahavishnu Orchestra; "Song for a Seagull" – Joni Mitchell
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Wynton Kelly, Konstantin Lifschitz
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Radiohead: "The Bends," Rickie Lee Jones: "The Magazine"
D) Name a favorite drummer, and an album to hear why you love that drummer: Dave King: "Suspicious Activity?" by The Bad Plus
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Joe Martin
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. The Omen (original version of course, Jerry Goldsmith) Psycho (how scary would it really have been without Mr. Herrmann)
2. TV theme. 'The Jetsons' 'The Price Is Right'
3. Melody. Sarabande movement from Bach's Cello suite in C minor; two from Wayne Shorter: 'Ana Maria' and 'Diana'
4. Harmonic language. Herbie Hancock solo from 'No Blues', 1967 Miles Davis
5. Rhythmic feel. Thelonious Monk and entire band 'Live in Italy' 1961; Bootsy Collins w/Parliament 'Funkentelechy';.Wynton Kelly/PC/Cobb/W Montgomery 'No Blues' from Smokin' @ the Half Note
6. Hip-hop track. Slum Village 'Hold Tight'
7. Classical piece. Ravel 'Gaspard de La Nuit' Shostakovich 'Concerto #1 for cello & orchestra’
8. Smash hit. 'Disco Inferno' by The Trammps
9. Jazz album. The Unique Thelonious Monk' John Coltrane
'Crescent'
10. Non-American folkloric group. El Camaron de la Isla (really a singer, not group, but very worthy)
11. Book on music. 'Stopping Time' Paul Bley
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: 'Rypdal/Vitous/DeJohnette' Stan Getz 'Captain Marvel'
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Albert Stinson (under-documentation a contributing factor), Wilbur Ware, Sam Gill (also under-documented)
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Bad Brains 'Soulcraft' Me'shell Ndgeocello 'Bitter'
D) Name a favorite drummer, and an album to hear why you love that drummer: Roy Haynes on 'Matrix' from Chick Corea "Now He Sings Now He Sobs"
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Ted Reichman
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Fellini's “Casanova”; “Ghost Dog"
2. TV theme. The Prisoner
3. Melody. Kind of embarrassing to admit, but: Richard Wagner, “Tannhauser Overture”
4. Harmonic language. La Monte Young, "The Well-Tuned Piano"
5. Rhythmic feel. Prince Alla "Only Love Can Conquer"
6. Hip-hop track. Genius/GZA, "4th Chamber"; Gang Starr, "The Place Where We Dwell"
7. Classical piece. Sibelius 4th Symphony, first movement; Webern Opus 24
8. Smash hit. Amerie, "1 Thing"; Missy Elliott "Work It," "Get ur Freak On"; Steely Dan "Aja"
9. Jazz album. Anthony Braxton Quartet, "Dortmund 1976"
10. Non-American folkloric group. not really a group in the sense you mean, but the Banda Linda tribe, Central African Republic; the Mbuti Pygmies
11. Book on music. Paul Zollo, "Songwriters on Songwriting"; Graham Lock, "Forces in Motion"
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: not an album, but the single greatest "early inspiration" was seeing Buddy Guy & Junior Wells and their band of Chicagoans at Nightstage in Cambridge, MA sometime around 1986.…I don't know what would be surprising in my case but here are a few that I loved when I was a youth: Run DMC "Run DMC"; Professor Longhair,"New Orleans Piano"; Thomas Dolby "The Flat Earth"; The J. Geils Band "Freeze Frame"
B) Name a practitioner (or a few) who play your instrument that you think is underrated: not just underrated, but unknown in the US: Jean-Louis Matinier, Riccardo Tesi; underrated: Clifton Chenier
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Sam Philips, "Fan Dance"
D) Name a favorite drummer, and an album to hear why you love that drummer: Zigaboo Modeliste on Lee
Dorsey, "The New Lee Dorsey" (the CD version with the bonus tracks)
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James Diers
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. "Blade Runner", Vangelis; "Captive", The Edge w/ Michael Brook; "Paris, Texas", Ry Cooder
2. TV theme. "Kojak", Billy Goldenberg; "St. Elsewhere," Dave Grusin; "Twin Peaks", Angelo Badalamenti
3. Melody. "They Say It's Wonderful", Irving Berlin; "Undo", Björk; "All Grown Up", Elvis Costello
4. Harmonic language. Prince's vocal arrangements; Bruce Kaphan vs. Vudi on the later American Music Club records; Zebulon Pike
5. Rhythmic feel. vocal phrasing by Jay-Z, MF Doom, and/or Black Thought; "What About Us?", Brandy; The Shaggs
6. Hip-hop track. "Lyrics of Fury", Eric B. & Rakim; "Verbal Milk", X-Clan; "No More ?s", Eazy-E
7. Classical piece. Gorecki's Symphony #3
8. Smash hit. "Relax", Frankie Goes to Hollywood; Nothing Compares 2 U", Sinead O'Connor; "Bootylicious", Destiny's Child
9. Jazz album. "Junk Magic", Craig Taborn; "Let My Children Hear Music", Charles Mingus; "Music is Rotted One Note", Squarepusher
10. Non-American folkloric group. Garmarna (Sweden)
11. Book on music. "Our Band Could Be Your Life", Michael Azerrad; "Psychotic Reactions and Carburetor Dung: The Work of a Legendary Critic", essays by Lester Bangs (Greil Marcus, ed.); "The World is Sound: Music and the Landscape of Consciousness", Joachim-Ernst Berendt
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: "Duran Duran", Duran Duran
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Paul Buchanan/The Blue Nile
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): "The Unforgettable Fire", U2; "Vee Vee", Archers of Loaf; "Scar", Joe Henry
D) Name a favorite drummer, and an album to hear why you love that drummer: Will Calhoun on Living Colour's "Time's Up"
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Ev Olcott
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Though Star Wars was pretty influential in my formative years, Eternal Sunshine of the Spotless Mind is my new favorite
2. TV theme. "Greatest American Hero" was too catchy too ignore.
3. Melody. Forbidden Colours - Ryuichi Sakamoto & David Sylvian
4. Harmonic language. Early years would be the Carpenters, but for my later years "Life Can Be So Nice" by Prince and The Revolution confuses me to this day. Prince and the Revolution doing "Pop Life" at Cobo Hall in Detroit (look for it on YouTube).
5. Rhythmic feel. "Automatic" by Prince really taught me about being *tight*...after Dave King explained John Bonham to me in the van once, I have a new appreciation. D'Angelo "Voodoo" restructured my understanding of "behind the beat".
6. Hip-hop track. "Fuck The Police", N.W.A.
"A Nigga Witta Gun/Rat-Tat-Tat-Tat", Dr. Dre
7. Classical piece. Continuously flummoxed by The Rite Of Spring, though I know it's too obvious...Gavin Bryars "The Sinking of the Titanic" is as solemn as they get.
8. Smash hit. "I Love Rock and Roll" By Joan Jett has the best recorded guitar sound I've ever heard.
9. Jazz album. Miles Davis "Bitches Brew"
10. Non-American folkloric group. (no answer)
11. Book on music. Get In The Van", Henry Rollins
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Thompson Twins "Into The Gap"; Scritti Politti "Cupid & Psyche '85"; Miles Davis "Tutu"; The Art Of Noise "In No Sense? Nonsense!"
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Lisa Coleman
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): American Music Club "Mercury"
D) Name a favorite drummer, and an album to hear why you love that drummer: Prince, "Darling Nikki" (from Purple Rain or the outtake version) and "Life Can Be So Nice" (from Parade)
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Django Bates
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. The Life Aquatic, Seven, Naked Lunch.
2. TV theme. Riget (Lars Von Trier's '94 Hospital drama).
3. Melody. La Vie en Rose, Alfie, Aguas De Marco (not bad for three notes), Little Petherick (sorry), and infinite others.
4. Harmonic language. Morton Feldman 'Piano and String Quartet', Hermeto's left hand, Percy Grainger 'Jutish Medley', Charles Ives (especially the quarter-tone piano music).
5. Rhythmic feel. Peruvian traditional folk percussion in sticky 3/4. The way Earth Wind and Fire play the 16th semiquaver in a bar of 4/4. THAT is an accent!
6. Hip-hop track. Definitely Ikscheltaschel II tracks 'Zwook' & 'Lo Che Che' (Danes who rap in elaborate fictional language).
7. Classical piece. Elliot Carter Piano Concerto (Stravinsky said it was a masterpiece - he should know).
8. Smash hit. 'What's Goin' On?' (Was that a smash hit)? 'Kiss From a Rose' by Seal: totally nuts tune!
9. Jazz album. Mingus Ah Um (the original Teo Macero edited version).
10. Non-American folkloric group. Folk musicians who form groups make me suspicious, but 'Farmers Market' might fit this category. Ali Farka Touré is good to dance to... etc...
11. Book on music. Books that have inspired musical thoughts in me have never been about music. Hence, 'The Third Policeman'.
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: A million years? Ok, then Peter Herborn 'Traces of Trane'. I didn't love it, but one shortish section of it really led me towards a density concept.
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Keith Jarrett; he deserves more than three gigs a year. His 'Restoration Ruin' is a masterpiece of understated genius.
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Rebecca Campbell 'The Sweetest Noise'. Tasteful, real, cute, magical.
D) Name a favorite drummer, and an album to hear why you love that drummer: Tom Rainey (last time I saw him live with Berne & Ducret), Martin France [on my own] 'Winter Truce (and homes ablaze)'.
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Tim Berne
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Naked Lunch
2. TV theme. The Rockford Files, Six Feet Under
3. Melody. "Time After Time," by Cyndi Lauper; the two vocal numbers on Ornette's "Science Fiction": "What Reason Could I Give" and "All My Life"
4. Harmonic language. The Bowery Boys
5. Rhythmic feel. James Brown
6. Hip-hop track. (no answer)
7. Classical piece. Lutoslawski Cello Concerto
8. Smash hit. "Popcorn" by James Brown
9. Jazz album. "Dogon A. D." by Julius Hemphill
10. Non-American folkloric group. Does Los Lobos count?
11. Book on music. "Conversations with Morton Feldman" by John Cage
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Steve Coleman, "Strata Institute"--I used an idea from that for my own piece "Bass Voodoo"
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Rob Brown, Charles McPherson, James Spaulding
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): Captain Beefheart, "Trout Mask Replica"
D) Name a favorite drummer, and an album to hear why you love that drummer: Gerald Cleaver, on his own album
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Kenny Werner
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Traffic
2. TV theme. Six Feet Under
3. Melody. You Must Believe in Spring (Legrand)
4. Harmonic language. Ravel
5. Rhythmic feel. Ed Blackwell; also the radiator clanking in my old Brooklyn apartment
6. Hip-hop track. (no answer)
7. Classical piece. Bartok's "Concerto for Orchestra" and "Music for Strings, Percussion, and Celeste"
8. Smash hit. (no answer)
9. Jazz album. "Speak Like a Child" by Herbie Hancock
10. Non-American folkloric group. Le Mystere des Voix Bulgares
11. Book on music. Igor Stravinsky, "Poetics of Music"
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Bill Kirchner
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. "I Want to Live!" (Johnny Mandel); "Three Days of the Condor" (Dave Grusin)
2. TV theme. "Route 66" (Nelson Riddle); "I Spy" (Earle Hagen)
3. Melody. "Close to You" (Burt Bacharach); "Speak No Evil" (Wayne Shorter)
4. Harmonic language. William Schuman Symphony No. 7
5. Rhythmic feel. "Rock Skippin' at the Blue Note" (Billy Strayhorn); "Ostinato" (aka "Suite for Angela" (Herbie Hancock); "Actual Proof" (Herbie Hancock); "Sons of Art" (Michael Garrick)
6. Hip-hop track. (no answer)
7. Classical piece. Aaron Copland Piano Quartet; Ravel String Quartet
8. Smash hit. The Beatles' "Sergeant Pepper's" album
9. Jazz album. Miles Davis, "Miles Smiles"; Shirley Horn, "Here's to Life"
10. Non-American folkloric group. Hermeto Pascoal y Grupo
11. Book on music. "The Shaping Forces in Music" (Ernst Toch); "Jazz in Search of Itself" (Larry Kart); "A Jazz Retrospect" (Max Harrison)
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Herbie Hancock, "The Prisoner"; Duke Ellington, "The Far East Suite"; Rod Levitt, "Solid Ground"; "Presenting Thad Jones/Mel Lewis and the Jazz Orchestra"; Steve Kuhn/Gary McFarland, "The October Suite"
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Billy Drewes, Dick Oatts, Ira Sullivan
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): "Hatfield and the North" (Virgin, 1973)
D) Name a favorite drummer, and an album to hear why you love that drummer: Joe Chambers on Chick Corea's "Tones for Joan's Bones" (aka "Inner Space")
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Erik Fratzke
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. Hangover Square (1945), Deception (1946)
2. TV theme. "Alice", "Trapper John, M.D.", and the ending credits for "WKRP in Cincinnati"
3. Melody. "'Til I Die" by the Beach Boys
4. Harmonic language. Bartok "Divertimento" , Morton Feldman, Toru Takemitsu, Dane Rudhyar, Edward Van Halen
5. Rhythmic feel. Anything from the Free album "Fire and Water"
6. Hip-hop track. "Rock Box" by Run DMC
7. Classical piece. Roy Harris Sym. No. 7 / Schnittke Sym. No. 7
8. Smash hit. Rock On" by David Essex
9. Jazz album. Point of departure" by Andrew Hill and "Spiritual Unity" by Albert Ayler
10. Non-American folkloric group. Rustavi Choir
11. Book on music. "Music" by Cyril Scott
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: "Lightning Strikes" by Loudness, "The Pleasure Principle" by Gary Numan, "Big Science" by Laurie Anderson
B) Name a practitioner (or a few) who play your instrument that you think is underrated: Electric Bass: Andy Fraser of Free. Electric Guitar: Dean Granros
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): "What's Next to the Moon" by Mark Kozelek
D) Name a favorite drummer, and an album to hear why you love that drummer: Bill Ward on "Vol. 4" by Black Sabbath and Vinny Appice on "Mob Rules" by Black Sabbath
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Larry Grenadier
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. In Cold Blood; Straw Dogs
2. TV theme. Sanford and Son; Brady Bunch
3. Melody. Ray Nance on "Low Key Lightly" from Duke Ellington's "Anatomy of a Murder"; Shostakovich, Prelude #22 in G minor, from "24 Preludes and Fugues"
4. Harmonic language. Alan Hovhaness' "Mysterious Mountain"
5. Rhythmic feel. Ron Carter, Jack DeJohnette, Herbie Hancock, and Joe Henderson on "Lazy Afternoon" from Joe Henderson's "Power to the People"; Gerald "Fingers" Jemmott, Herbie Lovelle, Hugh McCracken, Paul Harris, and BB King on BB King's "Completely Well"
6. Hip-hop track. Jay Ballard's "R U My Bitch?"
7. Classical piece. "Transfigured Night" by Schoenberg
8. Smash hit. Hanson's "MMMbop"
9. Jazz album. Miles Davis' "Milestones"; Charles Mingus' "Live at Monterey"
10. Non-American folkloric group. Bob Marley and the Wailers' "Catch a Fire"
11. Book on music. Charles Mingus' "Beneath the Underdog"
BONUS QUESTION:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Stanley Clarke's "Modern Man"; Paul McCartney and Wings' "Speed of Sound."
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Billy Hart
GIVE US AN EXAMPLE OR TWO OF AN ESPECIALLY GOOD OR INTERESTING:
1. Movie score. While everybody seems to agree that Bernard Hermann was the best film composer, I did take something from the Andre Previn's score of "Elmer Gantry" for my drum solos.
2. TV theme. My generation played the theme to "M.A.S.H." on gigs for a while.
3. Melody. "While My Lady Sleeps" and "Turn Out the Stars."
4. Harmonic language. John Coltrane and McCoy Tyner
5. Rhythmic feel. The second line.
6. Hip-hop track. (no answer)
7. Classical piece. Rachmaninoff's Second Symphony.
8. Smash hit. Well, my age and social element means you probably don't even know these songs: "Betcha my Golly Wow" by The Stylistics and "Ain't Nobody" by Rufus with Chaka Khan. And the top twenty Stevie Wonder hits--those are all the deepest hit songs, I suppose.
9. Jazz album. "Bird with Strings." "Giant Steps."
10. Non-American folkloric group. Los Muñequitos de Mantanzas
11. Book on music. "The Drummer's Complete Vocabulary as Taught by Alan Dawson"
BONUS QUESTIONS:
A) Name an surprising album (or albums) you loved when you were developing as a musician: something that really informs your sound but that we would never guess in a million years: Does my early love for Frankie Lymon and the Teenagers count? Wayne Shorter and Herbie Hancock both played me records that really took me out. Wayne played me Yma Sumac--remember her? I loved her. And Herbie played me Walter (or maybe he was Wendy by then) Carlos' "Sonic Seasonings." That record I played ALL the time!
B) Name a practitioner (or a few) who play your instrument that you think is underrated: There were three guys who advanced the language of drumming at the same time: Elvin Jones, Donald Bailey, and Edgar Bateman. Everyone knows Elvin, and a very few people know Donald Bailey, but nobody knows Bateman. And, before Alan Dawson taught Tony Williams, he taught Clifford Jarvis, who was the fastest drummer I've ever seen, and Bobby Ward, who played a lot of stuff that Tony became famous for playing. I guess my real answer is: Edgar Bateman and Bobby Ward.
C) Name a rock or pop album that you wish had been a smash commercial hit (but wasn’t, not really): (no answer)
D) Name a favorite drummer, and an album to hear why you love that drummer: I'll list some of the most important drum solos for the so-called bebop language: Max Roach's solo on "What Is This Thing Called Love?" from the Brown/Roach "Live at Basin Street." Philly Joe Jones's trading on "Billy Boy" and his solo on "Salt Peanuts" from Miles Davis records. Art Blakey's solos on "Blues March" from "Moanin'." Elvin Jones's trading on the Sonny Rollins/Wilbur Ware record. (Elvin really is one of my biggest influences.) And Ed Blackwell on "T and T" from the Ornette Coleman record with Scott LaFaro.
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Big thanks to all those who took the time out of busy schedules to answer our quiz. The really juicy answers are the surprises: It's only to be expected that names like Bach, Stravinsky, Coltrane, Duke, Los Muñequitos de Mantanzas, The Rockford Files, Bernard Hermann, and others would make multiple appearances, but the answers that send you to Amazon are the citation of Prokofiev's Second Piano Concerto in G minor by both Brad Mehldau and Christopher O'Riley or the interest in Alfred Schnittke by Erik Fratzke and Jeff Ballard.
Jason Moran, Jeff Ballard, and Joe Martin all selected The Price is Right for a TV theme, which seems a bit bland until you see Jason's cryptic note, "bass line." Here it is on YouTube--wow, that is a great bass line!
Julius Hemphill's Dogon A.D has gained new life in the digital age after not having been commercially available for about 30 years. Both Tim Berne and Ben Street put it on their list. (Of course Tim grew up with it, but Ben and I got our bootleg copies during the same shopping trip to Downtown Music Gallery last year.) While at least two generations of jazz players haven't even heard of it, most internet-savvy young musicians must know about it by now. If Dogon A.D. does ever come out again--especially in a nice, remastered, well-annotated edition--it will sell a lot of copies.
The "Django Bates absurdity prize" goes to Django Bates, for his answer to "Name a practitioner (or a few) who play your instrument that you think is underrated": Keith Jarrett; he deserves more than three gigs a year. His 'Restoration Ruin' is a masterpiece of understated genius. This is a bit of an insider's joke, as thankfully very few people have heard Restoration Ruin, which features the very young Jarrett singing very adolescent and sentimental songs while playing guitar. Even Jarrett himself admits that it is an embarrassing album, which should indicate how bad it really is.
Some other surprising or provocative selections:
Reid Anderson Gradus ad Parnassum (Josef Fux) (book)
Guillermo Klien Chuck Berry (rhythmic feel)
Dave King Phil Collins (underrated drummer)
Ted Reichman Sibelius 4th Symphony (classical piece)
Tim Berne Steve Coleman, "Strata Institute"--I used an idea from that for my own piece "Bass Voodoo" (surprise influence)
Christopher O' Reilly The Long Goodbye (Movie score)
James Diers "The World is Sound: Music and the Landscape of Consciousness" by Joachim-Ernst Berendt (book)
Ev Olcott "I Love Rock and Roll" by Joan Jett has the best recorded guitar sound I've ever heard. (smash hit)
Fred Hersch The Wild, Wild West (TV theme--hell yeah)
Bill Kirchner Hatfield of the North (should have been a hit album)
Billy Hart Rachmaninoff Second Symphony (classical piece)
Ethan Iverson "Flowers on the Wall" by the Statler Brothers (smash hit--the only country music to be found anywhere on these lists)
Ben Street Beekeeper- "Anywhere Will Do" (should have been a hit album)
Brad Mehldau Eric Dolphy/Booker Little “Live at the Five Spot Vols. I & II” (surprise influence)
Jeff Ballard autobiographies of Bechet, Dodds, and Miles (books on music)
Larry Grenadier Gerald "Fingers" Jemmott, Herbie Lovelle, Hugh McCracken, Paul Harris, BB King on BB King's "Completely Well" (rhythmic feel)
Jason Moran revealed a strong interest in English classical music, putting both Peter Warlock and Henry Purcell down. Kenny Werner surprisingly nominated his banging radiator for rhythmic feel (he nominated Ed Blackwell too).
Special "elegant theorem" awards go to Erik Fratzke for citing two different drummers for two editions of Black Sabbath (Bill Ward, "Vol. 4" by Black Sabbath and Vinny Appice, "Mob Rules" by Black Sabbath) and Joe Martin for citing two different versions of "No Blues" (Harmonic language: Herbie Hancock solo from 'No Blues', 1967 Miles Davis. Rhythmic feel: Wynton Kelly/PC/Cobb/W Montgomery 'No Blues' from Smokin' @ the Half Note).
All three members of TBP cited the Jarrett/Redman/Haden/Motian band one way or the other, which comes as no surprise.
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Bill McHenry's response from a year later included the full lyrics to two hip-hop classics, which was somewhat provocative (and a sign of the times) but also amusing and excellent internet reading.
