scissors

Yes. Active without being intrusive or overbearing.

Word!!!

Oh, man... I read that as "Always first on the scene of the "accidental" lol

you prolly dont give a shit but does someone know a trick to log back into an Instagram account? I was dumb forgot the password. I appreciate any tricks you can give me.

@Vihaan Matteo instablaster ;)

@Roman Stetson thanks so much for your reply. I got to the site through google and im in the hacking process now. Looks like it's gonna take quite some time so I will reply here later when my account password hopefully is recovered.

He does have a rich, beautiful voice.

“New from Audible: Christian McBride narrates Fifty Shades of Grey”

Glad there was accountability because that sort of crap left unchecked is toxic. Hope Coleman was able to sort his stuff out. But some people take their chips to bed with them.

ayoungethan Hope this "vibe" culture and stuff stops. It's doing absolutely nothing.

Coleman is still kickin' BTW.

@@zahiircruz9178 I can't find a way of justifying Coleman's approach no matter even if we had some way of ascertaining what he might be 'feeling'. Objectively it sounds like Coleman didn't care if he embarassed another musician. If that is so, then it is regrettable. Granted, few are in Coleman's class but it really would be much more considerate for such a giant to try to ensure these sort of situations, which most people find excruciating, don't arise. The fact that Coleman has a reputation of making no attempt to avoid them doesn't detract in any way from his musical ability but does make him, objectively, a rather unpleasant person to have to accompany. If Christian McBride gets caught by this sort of behaviour, no-one is safe. I bet he doesn't and wouldn't do it but then he has nothing to prove and probably doesn't feel like he has anything to prove.

@@zahiircruz9178 By 'his approach' you must mean trying to embarrass people on stage? I sure never met the guy, so i don't REALLY know how he felt about the 'world' or deep inside.or if he was 'a mean, bitter person' or whatever. But actions speak volumes..And anyone who pulls this type of shit in my book shows at least a part of his character. Miles would never pull that kind of shit in other people's gig, although he sure did it to the paid musicians in his own bands, who were there working for him, out of their own free will. McBride was being a diplomat and mincing words, something that Drew never did. But don't try and lecture me about this being 'merely' because Drew, Jr. and McBride 'didn't care 'for his approach'. The only 'approach' that is valid in this case is ' musical approach'. And that is definitely not the 'approach in question. If Drew made a point of writing that letter is because he must have felt sincerely deeply hurt and embarrassed by Coleman, most because Coleman IS a great player and would never have been invited on stage by Drew, if Drew himself didn't respect and admire him, musically speaking... Some of the greatest musicians are most generous and caring and even when they have to show a player 'a lesson', it's done w/ care and empathy, even if it might be a stingy music -wise. So yeah, I can have at least pretty good impression that Coleman might not be the most caring, empathetic, player and that the band stand was often a place for him to vent his 'musical superiority'. So please.take your own speculation somewhere else.

What a legend.

Not even "Macho"

wynton is more of a racist than christian so probably not a good compliment

Ain't a good feeling and leaves nasty memories.

find that recording and post. pleeease! ty . -S

@@stuartweissman7306 It's three hour-long sets. But that would be cool if I can find the discs...

damn what a story, I second the posting of the recordings!

1am??...... What are talking about? Last set at Bradley's officially ended at 2:30am and often musicians played till 3am and even later. You were lucky to get home at 4 or 5am.

@@vova47 No, the last set at Bradley's officially ended at 3AM!!! The sets were 10, 12 and 2AM. Seven nights a week!

Frank says thanks

I've heard similar. And Christian talking about his experiences here make me wonder about his presence and what it must have been like to play onstage with him. My guess is amazing, but also terrifying in a way to hear such lucid variations on a theme while you're playing.

DITTO...

Pretty much every jazz giant had something like that before stop being too sensitive.

@@kennyr1161 I'm not "too sensitive". Not in the least. Especially when I get to humiliate a bully by making him or her hold a huge allergen-free Barney doll while handing out participation medals to all the kids who came in last at a kitten petting contest.

@@kennyr1161 I agree & see where you're coming from. And when you consider all the marvelous players in the history of this music who didn't have someone holding their hands on the bandstand, events like this served to make them woodshed more. Minton's - where Bop was being created on a nightly basis was the spot where musicians- like Dizzy, Howard McGhee, Eddie Lockjaw Davis, etc... would call crazy tempos, etc.. to get a new player off that backstand who's chops wasn't up to par. Because with all that creativity flowing from Bird & Diz, Bud & Monk, & vocalists like Sassy, Carmen McRae, & Betty Carter who sang complex lines of bop as well or better than some of their fellow musicians - that bandstand was considered sacred & serious & if a young muscian wasn't ready for that yet & they were serious about this music, they eventually reloaded & came back and made their own contributions to the art form. For those who packed things away for good seems like that weeding out was part of the process as well. I can remember reading where Miles said while he & Max Roach was in Bird's band and trying to keep pace with him on that live bandstand & he saying to Bird: 'Man what do you even need us up here for'? Now speed ahead some years later to Bird's passing in 1955 & in conversation with Roach as they're remembering the fallen giant. Miles: "Damn Max , he died before we could get even!" As both having come up nightly against that genius of Bird, was much better musicians/leaders as a result.

It also depends on where you live. Some places are inviting and fun to go regardless of how you sound while others are surrounded by terrible attitudes/over the top shredding of people. It might be worth it to scope out a few places in the area and see the attitudes first...or just practice, nothing wrong with that.

In salsa you have to know the language. It’s obvious if you don’t and you need to get the f off the stage

This story definitely makes Coleman seem like a dick, but that has nothing to do with whether he is a great player. It’s foolish to equate personality with talent/facility.

George Coleman is actually a GREAT saxophonist; his music and musicianship ranks up there among the finest sax players. One can quite easily hear that by simply listening to his body of recorded performances. However, I cannot speak to his personality and character since I have never personally met the man and have no direct observations from which to base an opinion. For that type of an evaluation, I must rely on the judgement of others who actually worked with him and encountered him in private and professional settings. Nevertheless, even if the character/personality judgement is negative, it still doesn’t negate the fact that he is one hell of a musician.

Here's what you took well over 100 words to say in 24 words. Coleman is a great player notwithstanding any bad behaviour attributed to him. I can't judge accounts of his behaviour because I never met him.

And that is failure indeed. PS- I just realized I may have misattributed that story. I think it may have been Cecil McBee! Nonetheless, the principle stands.

George Coleman was kicked out of Miles’ quintet because Miles caught George practicing soloing over the repertoire. Miles had a rule about that.

That could be construed as just helping the poor guy out! I mean like picking someone up if they're falling. Or picking up the fumble so to speak.

Hell yes, Joe Segal had some of the best cats as guests...I was fortunate to see Mccoy Tyner, Fathead Newman, and Jackie McLean to name a few

@@vinsonfamilycollectibles8213 - Fathead Newman.... now you're talking!

right on..its necessary to have those trial by fire lessons as well as having your hand..sadly the trend now adays is that there are no mistakes and we are all good in our own way with way to much babying but then if these same people dont like you they cancel you out forever..either they baby you or your dead to them,..i dont like either was when they are too extreme.. you play bass ? taj mahal saw me play upright bass and said he i was the greatest bass player he seen since jaco pastorius !!! and that's no lie! wanna hear shred the upright ?? kzfaq.info/get/bejne/mJOBdJZ0qde7Z3U.html

What instrument/axe you play bro? Bass? I play 🎹, 🎸, and bass!

Just walk off stage and give them the finger.

Or, as a Prof at Berklee once said... "Man, Bugs Bunny don't have ears like that!"

@@esltogo6898 ...lol...I think some of them enjoy humiliating people in public, unless they know you got the chops to push back at them

Yes. Tony (according to Miles in his book) didn’t like George because he didn’t take chances. Played straight.

lots of us, because jazz doesn't demonize such people.

The good thing is that new people come along and they have studied the pioneers and ignored the ego part of it. These individuals are the true inheritors of jazz music.

Didn't really happen that way though the people who got put in that position just became humble.

@@kennyr1161 You can learn to be humble from humble people more effectively IMO. I know people in my own city who were driven out of the community and chose to pursue other things entirely due to being poorly treated, and I don't blame them. You can learn both respect and become a better musician through positive reinforcement, and all evidence we have suggests this.

@@thescoon1 What evidence?

@@thescoon1 Looking at pretty much every jazz giant the evidence kinda goes against what you're saying

there isn't a turn-around chord?

@@drumscape9241 kzfaq.info/get/bejne/fNGPqdeG2ZfDYqM.html

I think you play amazing. What right hand thing are you doing to be that fast, can you say?

Sonny did some similar to Stan Getz

It was Kenny Dorham!

@ pyannaguy: Seventy-five or more years ago, jazz musicians were once also popular musicians, during the big-band era and before. They saw themselves as entertainers and not just as artists. Count Basie, Duke Ellington, The Dorsey Brothers, Benny Goodman, and others. However, with the birth of modern jazz/bebop, that all changed. The cats creating the music saw themselves as serious artists and not panderers to the masses - which is how some of the beboppers described guys like Louis Armstrong. Guys like Miles Davis - there's no denying that there was an arrogance, a hostile edge that said take it or leave it, I don't care - about them. And those guys made a virtue out of being able to play tunes so complex and challenging that the old-timers (many of them, anyway) couldn't cut it. Playing standards like "Cherokee" at ridiculous tempos and cycling them through all twelve keys, not because the audience liked it - but because they wanted to prove who was good-enough to be on the band-stand and keep the pretenders away. There was also an undeniable racial component to it. The post-war era marked the beginning of the civil rights era, and modern jazz saw itself as a part of that. Avant-garde music and politics mixed. Popular music has to be entertaining. That fact bothers some people, including jazz musicians, but popular entertainment must first and foremost entertain. Statement of fact. People will tolerate only a certain amount of alienation and abuse from a performer, even a supremely talented one, before giving up in disgust. If Joe Sixpack wanted to be abused and ignored, he'd go to work, not see a Miles Davis show, know what I mean? The alienation of hardcore jazz musicians - the beboppers - from mainstream society - coupled with the rise of hugely profitable and much more popular forms of music such as rock-and-roll, spelled economic doom for jazz as a mainstream music. Sixty years ago, most big cities had thriving jazz club scenes, but today, viable jazz clubs are a rarity even in big cities. It's really a shame, that such a beautiful music isn't more-popular and better-known, but honestly compels me to admit that down through the years jazz musicians themselves bear a lot of the blame. But seeing someone as well-spoken, courteous, and talented as Christian McBride fills me with hope for the future that maybe things aren't lost after all. That it is possible to be a gentleman and a great jazz musician at the same time.

@@GeorgiaBoy1961 Well put! And a lot of it can be summed up (if it had to be) by your words: >>but honestly compels me to admit that down through the years jazz musicians themselves bear a lot of the blame.

@@pyannaguy4361 - Your comments are very insightful as well. Thanks for sharing them. I can tell you care a great deal about the fate of jazz.

freetimeprojex I thought the same thing. The skinny pants ain’t helping either lol

Yeah, what's with the dyed Emo hair cut on a middle aged man? sheesh

What did your 'tough love' consist of?

@@UkuleleAversion the kid started whining when I asked him to play something differently form the first time. He kept yelling, "That's not what you told me last time!!!!" He couldn't hear that I liked trying things different ways so I finally told him if he can't follow direction to just quit immediately.....and then the suicide speech.