R0. Box 240 Ojai. Calif. Jnazzletter A 93023 February 1989» Vol. 8 N0. 2 ' J Tex Beneke. We were to follow Woody at Eastwood Gardens, /- an outdoor venue near Detroit. We arrived in town Sunday Letters - afternoon; That evening was to be the closing night for Woody. We all went, our whole band, to" hear this Herd. To I must congratulate you on your fine book, Oscar.Peterson: The our chagrin it was pouring rainat the Gardens and there was /‘ Will to Swing. A splendid work. You give a most thorough absolutely no audience. No one could dance on that outdoors study of Oscar, his beginning and family, and items floor, obviously, and the Herman band didn’t even set up. It about his talent and ideas. r ‘ ‘ was a washout. » ' You, research deserves commendation. A splendid, colorful We in the Miller band were very disappointed. There was story in all, about this tremendous musical genius who has an enclosed area with a bar that was sheltered from the rain. made such a great contribution to American (and Canadian) Woody had the band set up and proceeded to play an entire and, with his original works, to "serious" music as well. concert just for us! I’ll never forget it. ‘Our admiration was , looked up to him all these years, and _I was pleased obvious, and they played their collective asses off. w enhe recorded a couple of my songs, Angel Eyes and The I finished the Peterson biography in one fell swoop and Night We Called It a Day, and very proud of the arrangements. loved it. I’ve always thought him to be without peer. I’ve This book should be must reading for any worthwhile never met him, and I‘felt I knew him well after reading the musician, composer, or arranger, or for that matter anyone book, and also felt certain I’d like the man very much. interested in the best kind of artist of our time. Regards. , Artie Malvin, Beverly Hills, California _ Matt Dennis, Riverside, California I have finished Meet Me at Jim and Andy's and found myself I have just enthralledly read your biography of Oscar more deeply touched than by anything I’ve read in years -- and Peterson. It is excellent and should be as widely read as also, sitting in my living room, laughing alone, which isn’t possible. I’d like to thank you for the more than several regular for me. I never knew Bill*Evans, but now understand mentions of my own little study of 1984, including your him much better through ‘the writing of-a friend. Thanks. criticisms! I think- Herb Ellis’s remarks on pages 251-2 are In the Oscar Peterson biography, you several times men- amongst the very best and most authoritative critical judgments tioned his memory. Probably in the 19605, I brought Midge ever made about Oscar-’s work. For twenty-five years I too from Wenatchee to hear ‘Oscar at Charlie Puzzo’s Penthouse have been infuriated and frustrated by those who, in Herbie’s Club. Oscar came over to the table to meet‘Midge' and asked words, "are not up to hearing it", and at last I’ve learnt too not if there was anything he could play for her. She said his to "discuss it with anybody, because there’s nothing to discuss." recording of The Maids of Cadiz was one of her favorites. That got to the heart of things as trenchantly as anything I’ve After an introduction and dedication to Midge, he gave us a heard. e ", e - treatment of the tune to be treasured. About two years. later,-‘the trio was back at the Penthouse. Richard Palmer, Bedford England Midge and I decided to once more drive the 150 miles over the mountains to hear them. Starting time was nine. About These comments are particularly precious to me, because Matt 9:20 they came running in after a late flight and shot upstairs is such a. fine pianist and a superb composer whom I have to the dressing room. Midge and Iyhad been placed in the admired all my life; and I consider Richard’Palmer the leading last remaining seats at the rear of the club and behind a post. authority on the recordings of Oscar Peterson. His "little study" We couldn’t see‘ much, but were near the speakers and the is an eighty-page monograph written for the Jazz Masters series sound was good. Around 9:30 they went on the stand. Oscar in Britain, to which he also has contributed a study of Stan said, "How nice to be back in Seattle. I’d like to play a lovely Getz. I relied heavily one his book for dates and personnel, and tune for a lovely lady. This is for Midge." And he played The on a three-part essay on Oscar that he wrote for Jazz Joumal Maids of Cadiz. International. I quoted him as often as I did because of the How he spotted us in the corner on his dash through was acuity of his judgments; He always struck me as being right on almost beyond comprehension. But then to couple that with the mark. My "criticisms" consisted mostly of pulling his leg a a memory of both her name and the tune after,’ I’m sure, little for enthusiasm. We have never met. hundreds of names and requests -- it has remained an impor- tant moment in our listening over the years. - \ I~just the chapter on Woody Herman in-Meet Me at Jim tmdlpAndy’.s and Was deeply moved. I adored each of the Don Lanphere, Kirkland, Washington g t I Herdsi -keep a Cassette of the first one in _my glove compartment as an antidote for the dreck that contaminates Okay, the record business" isn’t a whore. But it sure E a the airwaves these days. - fuck without a kiss. I recall a marvelous evening back in 1946, when I was singing I was with RCA when Elvis died, and there certainly was a with the Crew Chiefs in the post-war Glenn Miller band led by celebration atmosphere in accounting that day, which didn’t - - x Copyright 1989 by Gene Lees l~ . e I H "I I ll Hllnl-"Ii.-__ bother me half as much as the company’ deleting my album before yesterday was "irrelevant." God help them, and yes, Images, a collaboration with Michel Legrand, from the God help all of us, who suffer because of this ignorance. catalogue after it won a Grammy in 1976. ‘ I am convinced that the record industry’s lack of support has Wallace L. Mason, Cumberland, Rhode Island 0 done more to set back American music (good music in general, not just jazz) than any other accountable factor. Of Joe Smith '\1 course, I am speaking only of the big guys. God bless the President and CEO e small, independent labels who care about the music and are Capitol Records ' l satisfied with modest profits. The Quintet and I are happy 1750 N. Vine Street with Carl Jefferson at Concord Jazz. He and they love the Hollywood, California music and a fair shake to the artist. We ask no more. Keep kickin’ ass, Gene. As Bu says, "Jazz is the truth and If you offered any lessons in English grammar, rhetoric, or eventually it will grind the bullshit into powder.“ Love, composition, "I wouldn’t be looking to enroll in your class" as you quaintly put it. _ Phil Woods, Delaware Water Gap, Pennsylvania Capitol would profit if you had a secretary or friend w o could edit your letters. The good thing is that you are out there on our behalf. The bad news is that King George III has taken offense at Carroll J. Bellis MD, PhD , the Tom Paine whose Common Sense publication really does Clinical Professor of Surgery contain the power to frighten his highness and the vast evil University of California, Irvine ' empire he commands. As far as responsibility is concerned, the major conglomerates To Joe Smith: who poison the airwaves and strangle the American culture for the purpose of lining their pockets cannot evade matters by Another fallen idol. "Say it isn’t so, Joe." the caring and thinking minority. Do you think Mr. Smith and his cronies really feel the Jules Studio City, California Iazzletter and the intelligent music community it speaks for is insignificant? Hardly; They‘re scared stiff. Dear Mr. Smith: j Your letter certainly points up a lack of knowledge -of your Bernard Brightman own business areas and re-emphasizes the statements made in l President (the) article. To me it seems the height of stupidity to mount Stash Records a vitriolic attack on someone without at least determining the New York City. validity of the statements made. l By now you have probably discoveredthat Mr. Lees, gfl Just a note to congratulate you on the Jazzletter. You may than being an irresponsible know-nothing, is a res i or may not remember me, but I knew you in Chicago in the author, musician, etc., and his publication, rather than being mid-60s when I worked at Mercury Records before moving to insignificant, is read and valued by many of the more know- crazy NYC, where I’ve been since 1967. After reading my old ledgable jazz buffs. _ friend Bobby Scott’s eloquent reply to The Music Biz Is Not a Your letter reveals much about your personal character and, Whore, I must now surely find a copy.