Видео

Thank you Stephen. Monk

Thanks for your comment. You might enjoy our podcast, “Jazz Backstory,” based on excerpts from these interviews. It is available on major podcast providers, I included an anecdote from Dave in an early episode.

Hi Liz, I hope you enjoyed viewing this conversation with your father, it was a pleasure for me. Monk

Thanks for the comment Daniel, there is also a part 1 session with John on the youtube channel. You might enjoy our podcast, “Jazz Backstory,” based on excerpts from these interviews. It is available on major podcast providers.

@@filliusjazzarchive Sure! I saw part 1 first and had a good time with it.I also enjoyed those interviews with them old times men like Lionel Hampton,"Sweets" Edison, Willy Bauer,and the converstions with Louis Hayes and Nat Adderley.His stories about how tunes like Work song or Humming were born are simply great!

Thanks for the compliment. Here's an interesting backstory on the interview with Louis. I was doing an interview with Jon Hendricks a few hours before Louis was scheduled to meet with me. Louis called the room and expressed some reluctance about sitting for the interview. Jon said, "Give me the phone" and proceeded to tell Louis that he definitely should do this. So I probably wouldn't have done this interview had it not been for Jon's encouragement. As you can probably tell, I am a huge Cannonball and Nat fan so this interview was a pleasure for me. Monk

What a marvelous "behind the scenes" story about this particular interview, Monk.You do such a tremendous job.Thank you for sharing and caring, Monk. ​@filliusjazzarchive

​@@filliusjazzarchiveOne addendum. I'm sure that after your interview with Louis was finished, Louis told Jon that he was so right in convincing him to go ahead and follow through on the interview that he set up with you, and that he was so glad that he actually did do it. I bet he sensed that after the first couple of minutes in. That was a special moment when you surprised him by playing the song that he "wrote" for his wife. When Louis was first asked to be interviewed, as a man who is not effusive, he might have thought "Oh, no... I hope that this is not going to be another one of those banal interviews with the same old routine questions!" Instead, you could tell how much he opened up and actually enjoyed this chat with someone who was totally prepared, hip to his work, and who made it easy for Louis to totally be himself.

You are very welcome, it was a privilege. Monk

Clearly, Jake Hanna was not shy about speaking his mind about music, nor are you Frank. Jake describes Dylan, and by extension, numerous rock & rollers as totally deaf, an embarrassment, while you describe Jake's music and by extension, mainstream jazz, as sad, corny and laughable. Jake was referring to the documentary about the recording of "We Are the World". Have you seen the Dylan section? His song writing is not in play here. Try watching it, imagining you are a professional musician in his 5th decade of playing, having backed up some of the finest singers in the business. Musical tastes have always been to each his own. Have you heard Stewart Copeland's (drummer from The Police) interview about jazz where he states "The Problem with Jazz Musicians is That They All Suck.!" It swings both ways wouldn't you agree? I do concur with this excerpt from your post, " all musicians should encourage other musician no matter what kind of music they play." Monk

Well first you’re missing some of my points and I appreciate your feedback. Jake talked smacked about any music, that he couldn’t appreciate, like bebop, then he played that corny stuff he was playing, I didn’t say MainStreet jazz was corny. I said the music he played on that video the music he plays on all his videos sounds like old school Ragtime jazz, which is so played out when you look at bebop and you look at the amazing players that came out of bebop like Miles Davis, Connie K, Alvin Jones , Elvin Jones , Charlie Parker, Thelonious Monk, these are the guys that brought jazz back to the mainstream, he should be thanking them cause they’re the only reason people even listen to his music in the first place. My whole point is any musician who puts down other players just because they’re not playing the same music they’re playing they are a jerk off a total jerk off a total snob. I don’t some Deaf, metal music, with a blast beats, it makes no sense to me, but I appreciate the players, I say this guy is a talented drummer, and the guitar players are outrageous, so I don’t agree with what they’re saying I don’t agree with their vocabulary, but I agree that talent is there, and I wouldn’t put them down because they like to play a certain kind of music. I worked with Jean Krupa years back in 1966. I could tell you Jean felt the same way about rock players, did buddy to a point . I heard an interview with Jane Krupa, and I worked with a review that he played on, and he would do his Jean group thing, and the review with singers and dancers, what play so his show would last an hour an hour and a half, Jean was real sick and he couldn’t play that much so he just played his Jean group thing sing sing sing, drum boogie and the band played the rest, I would sit in on Jean drums, play the rest of the show, but we played stuff like mercy mercy Some soul , music, Jean said in an interview when his review used to play, he almost got a heart attack, cause he ran up three flights of stairs to get to our dressing room to get away from the music we were playing . If you know, the Metropol Café where we did a lot of shows, they had a ground floor and a long flight of stairs to the second floor, a long flight of stairs to the third floor, and another flight to the dressing rooms. Jean said he ran as fast as he could, and basically was talking about my plan, which was not really rock ‘n’ roll. It was kind of soul. It was kind of fun fusion back then which didn’t exist yet but that’s the kind of music it was but he hated music, if you talk about Stewart Copeland, he’s another jackass , he’s known in the industry jackass talking shit about people. He’s a very talented guy. I can’t take that away from him, like I said before this Jake solo he plays with Bucky Passarello, I love his old-school solo, shows tone tone. The drum sounded great, he shows some speed for an old guy, but I lost all respect for Jake. All respect he sounds like a moron to put down Bob Dylan, no I don’t know the documentary you’re talking about, but if you’re talking about the documentary that Michael Jackson dead, we are the world, Dylan Dylan I never said Dylan was a great singer, but his voice is perfect for the song. She sings like a Rolling Stone, just like a woman, blowing in the wind, some classic songs would you put down Bob Dylan? You might say I don’t like his songs. I’m not a great big Bob Dylan fan myself, I’m a hard rock guy Like AC/DC, Aerosmith Metallica, Korn Red Hot chili peppers. But I also liked a lot of the pop stuff, I’m not a Taylor Swift fan, but I appreciate the talent, I had to go see a movie just to see what she does, she puts on a great show, I listen to Madonna, I listen to Katy Perry, I’m not big fans of pop music, but I appreciate the talent the dedication to music and show business, my only point is I lost all respect for Jake

Gene Krupa I used the microphone device, and sometimes the words get mixed up

Thanks for pointing out this heavy quote, part of fascinating section of the interview where Mr. Foster describes the challenge of surviving in the business after leaving the Basie band. It starts at 1:16:00 in the video. Monk

@filliusjazzarchive it jumped out at me because I think it's a feeling that all musicians wrestle with, regardless of style or era. We are all constantly balancing our musical truth with other expectations including financial, commercial, and stylistic.