Michael Weiss

Lush Life was on the corner of Bleecker and Thompson Streets. I worked there with Jon Hendricks in 1982 and sat in with Chet around 1983/1984 when Hod, Dennis Irwin and Leo Mitchell was the rhythm section.

The BN trio record is a classic as are all the others. But if I were to pick a favorite - for the whole band, the arrangements, the spirit.. this is the one: In the early 80s Tommy used to sit in with us at the Star Café. he played a little trumpet, but mostly sat in on piano - quite deftly too. Around 1986 there was a benefit for Barry Harris' Jazz Cultural Theater one afternoon at the Village Gate. One band had a front line of Tommy, Jimmy Heath and Slide Hampton. I remember they played Our Delight. Wow, those were the days...

I worked with the band 1983-1987. Leroy was usually on drums.

Sorry to hear this. I played with Paul a lot in Bill Hardman & Junior Cook's group. Fine musician and quite the ladies' man.

http://www.npr.org/event/music/476905488/vanguard-jazz-orchestra-50-years-of-mondays

I like this: Yeah, I went to [Coltrane's] house and the first thing he did—he had one of those upright wall pianos—he opened the lid and then he did like this, made a tone cluster, “GRRRRUNGGGH,” kept the foot on the sustain, “GRRRRUNGGHH,” and we had our horns out, and he asked me, he said, as the tone was still going, he said, “See how much of this you can catch. Let’s see how much you can catch.” And I heard the “GRRRRUNGHH” so I wasn’t messing around, trying to loop center tones and not so centered and all that stuff, and he asked me to do the same thing to him and I did “WRRRRRUNGH,” and he got his horn and he was all over the place, [mimes rapid playing] really soft because of neighbors and all that. He had a towel in the bell. [mimes rapid playing again] Then we’d do it back and forth on the piece that holds the music, the lyre or whatever, there’s a harp book there and I was checking the book out and it had the [rapid playing sound] and I said to myself, “Sheets of sound.” [laughs]

Very sorry to hear about this. Never performed with him but the one record date we did flowed pretty effortlessly. Very easy to play with. A solid pro.

They played (8 bars of) Yes Or No to bring on an actress. Tootie and Jimmy Heath will be sitting in Wednesday night. Roy Haynes on Thursday night.

http://sopranosaxtalk.blogspot.com/2016/04/pete-yellin-july-18-1941-april-13-2016.html

Ha ha.

Some aspects of the tour I have great memories, others less so. There were several players that were a joy to play and hang out with. Randy Brecker, Eddie Bert, George, Joe Temperley, Ronnie Cuber, Don Butterfield, and Warren Smith come to mind.

I played with George in Mingus Epitaph and he brought it every night.

Up again for NH and Maine area members. $8!

Pianist and composer Michael Weiss returns to Smalls fronting a quartet on Saturday, April 1. Sets at 7:30 p.m. and 9:00 p.m. There is a $20 cover charge. Smalls is located at 183 West 10th Street. For more information visit smallslive.com MICHAEL WEISS QUARTET Michael Weiss - piano Walt Weiskopf - tenor and soprano saxophones Paul Gill - bass George Fludas - drums Since arriving in New York in 1982, pianist, composer, arranger and educator Michael Weiss has firmly established his reputation working with numerous jazz legends. Perhaps best known through his fifteen year tenure as pianist with Johnny Griffin, Weiss has also been a member of the bands of Art Farmer, the Jazztet, Slide Hampton, Frank Wess, Charles McPherson, Lou Donaldson, Junior Cook/Bill Hardman Quintet, Mingus Epitaph, and Jon Hendricks. He is currently a regular member of the Vanguard Jazz Orchestra. Weiss has also worked with Joe Henderson, Woody Shaw, George Coleman, Clifford Jordan, Pepper Adams, Cecil Payne, Nancy Wilson, Donald Byrd, Randy Brecker, Clark Terry, Phil Woods, The Heath Brothers, Gary Bartz, Wynton Marsalis and Ron Carter among others. As a leader, Weiss has headlined at the Village Vanguard, Detroit Jazz Festival, Detroit Symphony Hall, Smithsonian Institution, and major New York venues such as Merkin Concert Hall, the Blue Note, Jazz Standard, Birdland, Bradley's and Sweet Basil. Reviewing his Vanguard debut, the New York Times wrote that Weiss “demonstrated a strong sense of leadership and organization” exhibiting “sensitivity and logic, along with crisp control.” Television appearances include CBS-TV’s Nightwatch with Charlie Rose and PBS’ Live From Lincoln Center: The City of Jazz. Radio appearances include PianoJazz with Marion McPartland, Making the Music with Wynton Marsalis, Jazzset and the Jazz Piano Christmas Special. Weiss is a 1989 prizewinner in the Thelonious Monk piano competition. Weiss has recorded for the Criss Cross, SteepleChase, and DIW labels. The press were unanimous in their praise of Weiss’ latest release, "Soul Journey" (Sintra), a collection of nine original compositions for septet: "Weiss’ shrewd writing and arranging skills are as clearly in view as his sleek piano work” – The New Yorker "Weiss has a rich palette of composing devices at his command” – Downbeat "warmth, integrity and above all, thought-provoking originality” – JazzTimes “the song simply smoke” – Detroit Free Press “Weiss’ compositions take on different shapes, great complexity and fresh perspectives” — Washington Post “intelligence, intensity and integrity are three defining terms for this pianist/composer” – Hartford Currant Weiss also appears on recordings led by Johnny Griffin, Frank Wess, Vanguard Jazz Orchestra, Charles McPherson, Steve Grossman, Ronnie Cuber, Dick Oatts and Louis Smith. As a composer Weiss is a two-time Doris Duke/Chamber Music America New Works grant recipient and was the grand prize winner of the 2000 BMI/Thelonious Monk Institute's Composition Competition presented to him by Wayne Shorter. Weiss’ compositions reveal eclectic influences from the worlds of jazz, 20th Century classical and even rock -- from Wayne Shorter to Alexander Scriabin to Led Zeppelin. Weiss focuses on extended forms, thematic development and attention to detail. "A greater percentage of composition in the mix is crucial to keeping Jazz moving forward," explains Weiss. "The solo after solo bit on the same chord changes is becoming a worn out model. This doesn’t mean giving up on jazz’s foundations. I’m interested in incorporating improvised solos within a piece like characters in a play or perhaps as the narrator between scenes. I’m always looking for fresh ways to expand my material.” About the quartet: Walt Weiskopf, a highly respected saxophonist, composer, bandleader and educator, has been touring annually with Steely Dan since 2003. Prior to that, he worked 14 years with Toshiko Akiyoshi as well as stints with Buddy Rich, Frank Sinatra and others. Paul Gill is one New York's most in-demand bassists, having toured with Toshiko Akiyoshi, Diana Krall, Pat Martino and Hilary Kole. Chicago-based drummer George Fludas has amassed an astounding resumé working in the bands of Ray Brown, Diana Krall, Hank Jones, Tommy Flanagan, Cedar Walton, Monty Alexander, Pharaoh Sanders and Joey DeFrancesco. Contact: Nepenthean Music sintrarecords.com

Thanks for posting this. Taped during our anniversary week last month. They did a good job.

I'll be bringing a group up to the University of New Hampshire on April 4. On April 2 we'll be at the 9th Note in Stamford, CT

I'd like to think so. There's still nothing better than a well made hand-written part. I wrote out parts by hand for a long time but have recently succumbed to Sibelius, mainly for the ease of editing and creating pdfs. I still prefer my own hand for looks. I'll have to look into that. I've heard stories of Thad composing at the last minute for record dates while the band was on the road (1970s era) and asking band members to copy parts.

Track 3 "A Monk's Dream" composed and performed by Johnny Griffin. This was a staple in our repertoire for many years.

After my big band career is over I can be a proofreader!

sigh...

I'm sure Pete was thrilled about that.

Mike Karn

Thank you!

Great listening to Sal and Tubby talk extemporaneously about the various trials and tribulations of what they live to do. When this interview took place in 1964, Sal was 26 and Tubby 29.

Wow. Gotta hear this