RE: (TV) Monk/Trane's influence on Verlaine's playing

[Eric Gregory <egregory@standard.com>]

just to add my small 2 cents (not really a jazzer), i hear a hell of a lot
of jim/roger mcguinn in verlaine as well.
& mcguinn was supposedly shooting for coltrane at the height of the byrds'
"psychedelic" phase.

______________________________________________
Eric S. Gregory
IVR Assistant
egregory@standard.com
(503) 321-8503
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-----Original Message-----
From: SCOTT ALDRICH [mailto:scott.aldrich@worldnet.att.net]
Sent: Thursday, December 30, 1999 3:34 PM
To: tv@obbard.com
Subject: (TV) Monk/Trane's influence on Verlaine's playing


Maurice, I've been playing "Ba-lues Bolivar Ba-lues Are" for years, also 
play a version of "Panonica", beautiful song where Thelonious plays the
melody on an out of tune celeste, a kid's piano! "Brilliant Corners" I can't
remember if I play or not. You made me want to put on that record. Everyone
on this list should get a copy of that record of vital, timeless music. One
of Monk's greatest.I think Monk is maybe the coolest, most adventurous tune
writer, ever. I don't really hear Monk or Coltrane in Verlaine's playing,
maybe a little Coltrane, as you say, in Tom's phrasing in live performances.
I'm thinking of some live version of "Marquee Moon", I think, where his
phrasing reminded me some of Coltrane's in the "Afro-Blue Impressions" vein.
I think Tom is very fluid, like Coltrane, I just don't hear the harmonic
connection. I think Tom does have the exciting, adventurous spirit that Monk
and Trane have. Granted, I think Verlaine is maybe the only known rock
guitarist whose playing reveals influences from Love, the Velvets, the
Stones, and Coltrane. Add Bob Quine as well. That's one of the reasons I
love those guys' playing so much, it really is a synthesis of all of this
challenging, rocking and soulful music of varying stripes. I'll have to
check out more Roy Buchanan, I never heard that connection before. I really
hear a predecesor in Mike Bloomfield's playing. Listen to the Live at
Newport version of Maggie's Farm, if you can get a copy. East-West,
obviously, but some of his stuff with Dylan is very far-out. The Newport
performance is ferocious. It must have blown their harrumphing hipster
"aesthete" with cash to fart, folky minds.
Scott

----------
>From: Maurice Rickard <maurice@envirolink.org>
>To: tv@obbard.com
>Subject: (TV) email
>Date: Wed, Dec 29, 1999, 11:17 PM
>

> Once again, my account was hosed for the better part of two days (Emilie
> is welcome to laugh at this one), so my apologies if anyone trying to
> email me received bounces.
>
> If it happens again, feel free to contact me at the other address,
> maurice@greenmarketplace.com.
>
> To keep this from being nearly completely pointless, I'll pick up Owen's
> question from last week (at least I think it was Owen's), and say that I
> hear more Trane than Monk in Tom's playing.  I've always heard Monk as
> playing those weird intervals (lots of minor seconds, for example), which
> someone once described as being the wrong note at the right time.  And
> Trane had that modal thing in his '60s playing, much as Tom does a lot of
> those modal solos.  Of course, nowadays I'm hearing more Roy Buchanan in
> Tom's playing.
>
> Anyone ever see the film _Straight, No Chaser_?  Fascinating
> performance/documentary footage of Monk.
>
> Maurice, who's been trying for years to work out "Brilliant Corners" on
> guitar....
>
> Maurice Rickard                       | "Multimedia will never go anywhere
> Designer                              |  until the amateurs take over."
> http://www.envirolink.org/maurice     |                     --David Thomas
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