DO YOU REMEMBER HOW MUCH THOSE REALLY EXPENSIVE TICKETS WERE? No. I don't. But I'll bet it was just a scandalous amount, you know, something like $35. Gary would remember. Gary would remember to the penny.

I REMEMBER, I SAW HENDRIX LIKE IN'68 OR SO. BUT I REMEMBER IT WAS LIKE SIX DOLLARS FOR THE THIRD ROW OR SOMETHING. AND WHEN YOU LOOK AT TICKET PRICES FROM THOSE DAYS YOU GO: "OH MY GOD." Yeah. It was crazy. The Fillmore was a great bargain too, even at its time. I don't know what the tickets were going for at that time but Bill Graham was making it a point to keep the ticket prices down, which I think had a great deal to do with popularizing the music that played there.

AS FAR AS TRANSLATING THE MUSIC THAT YOU WERE HEARING INTO JAZZ, GARY TALKED A BIT ABOUT HOW YOU GUYS WERE FASCINATED WITH SOME OF THE HARMONIC MOVEMENT AND THE USE OF TRIADS AND WHATNOT AND THE WAY THINGS RESOLVE DIFFERENTLY THAN IN JAZZ, AND OBVIOUSLY THERE'S A RHYTHMIC COMPONENT TOO. CAN YOU TALK A LITTLE BIT ABOUT THAT? Okay, yeah. I would second what it seems like Gary would say. One aspect of the harmonic language of the Beatles and other rock bands of that generation was that the harmonies were often conceived on the fingerboard of the guitar, and that kind of stuff — triadic motion over unlikely roots, that kind of stuff — is guitar-neck vocabulary. And I had always been a keyboard-oriented harmonist, and Gary had too, obviously, he's a good piano player, and I had spent my childhood learning to play the piano and using the piano as a tool to learn music — so kind of discovering guitar neck idiom was fascinating.

And we were really assisted in developing an understanding of all of that by the succession of great guitar players, starting with Larry Coryell and extending through Pat [Metheny] and John Scofield and many others — Sam Brown in my case was a major influence, and a dear friend. We always had somebody who was dealing with the fingerboard of the guitar in a kind of advanced way, like, standing next to us in the bandstand so that we were evolving an understanding of what guitar harmony was capable of and what it did best over the whole history of the band really, until the point when finally there were a few editions of the band without guitar. There was the one with Jim Ogden playing alto, where Gary was the only harmonic instrument in the band. But virtually throughout the life of the band we had really excellent and adventurous guitar players expanding our awareness of what the guitar was capable of harmonically. And I actively sought advice from all the guitar players as I was writing music for the band, because I wanted that vocabulary in the themes as well as in the improvising. I was looking for a unity between the rhythm and the improvising that demanded that I understand something about how guitar players thought about harmony.

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