Never had any Chris Potter music, although I have eyed some on ECM label. After listening to the interview, I realize this is an intellect I tremendously respect, and will come to the music when I buy it, from that widened awareness. Much respect. Thanks.
The "ultimate" was to drive into Chicago each week during the 1970s. Fusion was the rage, leaving the boss tenors available, unbooked, and eager to show up for "cutting contests" (friendly) involving from 2 to 4 tenor players at Joe Segal's Jazz Showcase. One week it was Sonny Stitt, Gene Ammons, and James Moody. The next it was Stitt, Jug, Lockjaw Davis, and Dexter Gordon. Other players that Segal brought in for these hot and fiery exchanges included Al Cohn, Zoot Sims, Booker Irwin, Clifford Jordan, Von Freeman, Hank Mobley (most soulful, melodic player of all 1955-'65, but, sadly, he was wasted by the '70s), Harold Land (Clifford's "double" on all but one LP, and proclaimed the best improviser in jazz by Victor Feldman and Carmel Jones, but fading by the '70s), Charlie Rouse (a player with quick, lightning-fast articulations), even Don Byas (the Art Tatum of the tenor), Johnny Griffin (speed demon and the "Little Giant" to those who heard "Long Tall" Dexter in his lines), of course that Chicago polymath Ira Sullivan (equally proficient on sax, trumpet, and flute), and of course Stanley Turrentine. I wish I had brought (surreptiously) a portable digital recorder for these eagerly-anticipated, sacred, once-in-lifetime sessions.
The irony of not being able to "mic" one of the best musicians alive today.
It's interesting how he breathes in between sentences just like in between phrases on a saxophone.
Why is this sooooo compressed? I can hear every breath they take.
Never had any Chris Potter music, although I have eyed some on ECM label. After listening to the interview, I realize this is an intellect I tremendously respect, and will come to the music when I buy it, from that widened awareness. Much respect. Thanks.
Awesome interview, Chris is one of the greats of our time. The fact that the audio keeps panning left to right is driving me nuts though!
He seems like a nice, down to earth kinda guy.
these mouth noises are killing me, cmon guys
Dude can play so great, what an opening...music does the talkin'.
Master.....🎷
Was he playing over confirmation at the beginning. That's what it sounded like to me.
Chris is incredible.
Great job with the speech mix, whoever did it... Welldone!
I love this series
It's all about the dynamics of the rhythm I'm listening to and playing along with that inspires my musical expressions.
simply the greatest. Thank you Chris :)
his music inspire me a lot on life!
What a great discovery this guy has been for me!
Great conversation! Thanks
Great. So inspiring
The "ultimate" was to drive into Chicago each week during the 1970s. Fusion was the rage, leaving the boss tenors available, unbooked, and eager to show up for "cutting contests" (friendly) involving from 2 to 4 tenor players at Joe Segal's Jazz Showcase. One week it was Sonny Stitt, Gene Ammons, and James Moody. The next it was Stitt, Jug, Lockjaw Davis, and Dexter Gordon. Other players that Segal brought in for these hot and fiery exchanges included Al Cohn, Zoot Sims, Booker Irwin, Clifford Jordan, Von Freeman, Hank Mobley (most soulful, melodic player of all 1955-'65, but, sadly, he was wasted by the '70s), Harold Land (Clifford's "double" on all but one LP, and proclaimed the best improviser in jazz by Victor Feldman and Carmel Jones, but fading by the '70s), Charlie Rouse (a player with quick, lightning-fast articulations), even Don Byas (the Art Tatum of the tenor), Johnny Griffin (speed demon and the "Little Giant" to those who heard "Long Tall" Dexter in his lines), of course that Chicago polymath Ira Sullivan (equally proficient on sax, trumpet, and flute), and of course Stanley Turrentine. I wish I had brought (surreptiously) a portable digital recorder for these eagerly-anticipated, sacred, once-in-lifetime sessions.