FULL CONCERT with Joey DeFrancesco live at the Old Mill Inn [Listen 1 hr 52 min] S02 Ep07 (3 of 3) Channeling Miles with Joey DeFrancesco
Interview Date: March 25, 2012 @7pm EDT
Special Podcast: Joey DeFrancesco Live at The Old Mill Inn
Special Guest: Joey DeFrancesco (Part 3 of 3) Nicknamed “the finest jazz organist on the planet,” Joey DeFranceso and GTV present you with an exclusive and in-depth interview, plus his full concert performance in Toronto.
Coming from a long line of established organ players, DeFrancesco started his career off as a child prodigy (starting at age 4) playing with all the greatest organists in the world. He has developed his skill to the point where he dominates the Hammond B3. When DeFrancesco was 17, Miles Davis called him up to ask him to tour with him and play on his 1989 album, “Amandla.” Since that time he has gone on to play with many other "who’s who" in the jazz world, and often being paired with some of the greatest guitarists in jazz, such as; Pat Martino, Paul Bollenback, Jimmy Bruno, Dave Stryker, and John McLaughlin. In this podcast, listen to his full concert performance at The Old Mill Inn in Toronto. It's only available here at GoingThruVinyl.
Check out Joey DeFrancesco's page http://www.joeydefrancesco.com/
Joey DeFrancesco's band for the performance:
He is known as the drummer and founding member for the Toronto based band "5 after 4" and is an absolute monster in this show. In between sets (about halfway through) you can hear Rezza say to Joey something about "getting all emotional" about Joey's ablity to channel Miles Davis with his horn. Although I couldn't agree with Rezza more, I think Rezza is channeling other famous jazz players himself (notably, Art Blakey). I also thought I might comment on the band: the night of the taping, I happened to be pretty nervous and was overly worried about placing the recorder in the right spot to record the show (I only had one shot at it). Vito Rezza and the rest of the band were really kind and helpful (Rezza was as cool as they come). Thanks for your help; the recording came our great!
Quinlan is one of Canada's best jazz guitarists and teacher. In this set, his playing is as absolutely cool, smooth, and refined (cool as a cucumber salad in a Canadian winter). He is both a session player and the head of the Guitar Department at Humber Collage in Toronto. He has played with Chet Baker, Freddie Hubbard, Jimmy Smith, Michael Brecker, Dave Holland, Maria Schneider and Dave Liebman. Needless to say, this guy can really play.
Lastly, I'd like to thank the Old Mill Inn for allowing me to record there. If you are in the Toronto area you might want to check the schedule of the Inn to see who is playing; they have some of the best jazz acts in the city. The rooms are nice, the food is great, the decor is what you'd expect of a classy jazz club. http://www.oldmilltoronto.com/
The Soul Jazz Chayot Ha Kodesh and debate primer
It seems that a heated debate occurs whenever a genre of music gets a label attached to it. It gets fuelled by whichever adherent or so-called expert who chooses to pick up the sword and dive into what defines the genre, what constitutes it, and what nuance necessarily makes someone or some composition excluded from the genre. Such is the case with soul jazz and hard bop. Whether soul jazz is actually hard bop and the reasons why or why not is not going to be debated here. What I want to focus on here, is some of the history and highlights. Despite which side of the battle lines you fall, the legends and landmarks introduced here have left an impact regardless where you wish to pigeon-hole them. For those who know them already, take it as a tribute and a reminder to pull them out again for a spin on the turntable, for those who don't know everyone on the list, take it as an introduction into the highlights of what jazz was producing from the glory days. For those who are discovering (or rediscovering) the Beastie Boys, you may want to pay attention; the impact some of these artists have had on the Beastie Boys' music is pretty distinct. From “Groove Holmes” from Check Your Head to Jimmy Smith's “Root Down” and a smattering of samples throughout, the degree of separation is a small one from the soul jazz greats to the Beastie Boys
Joey DeFrancesco Interview [Listen 30:40] – S02Ep07 (1 of 3) – Riding the Big Wheel with Joey DeFrancesco
Interview Date: March 25, 2012 @12pm EDT
Special Guest (Audio) Joey DeFrancesco (Part 1 of 3): Nicknamed “the finest Jazz organist on the planet,” Joey DeFranceso and GTV present you with an exclusive and in-depth interview, plus his full concert performance in Toronto.
Coming from a long line of established organ players, DeFrancesco started his career off as a child prodigy (starting at age 4) playing with all the greatest organists in the world. He has developed his skill to the point where he dominates the Hammond B3. When DeFrancesco was 17, Miles Davis called him up to ask him to tour with him and play on his 1989 album, “Amandla.” Since that time he has gone on to play with many other "who’s who" in the Jazz world and often being paired with some of the greatest guitarists in Jazz such as Pat Martino, Paul Bollenback, Jimmy Bruno, Dave Stryker, and John McLaughlin. In this podcast we talk about his early years, playing with the greats, and his introduction to Miles Davis
Special Guest (Print) John Broven (Part 1 of 1): I have been in contact for quite a while with John Broven, the author of one of my favorite music books, “Record Makers and Breakers: Voices of the Independent Rock ’n’ Roll Pioneers.” The book chronicles the history of the independent rock’n’roll record industry, covering the beginning in the 1940’s through to the 1960’s. It tells the amazing story of the record industry; it covers topics like how and why we went from the 78rpm to the 45rpm format, the history of the independent music scene, the musical significance of the jukebox, and even how the record store was born. Through his research, he was able to talk to, interview, and recount the amazing stories of people like Marshall Chess (Chess Records), Jerry Wexler, Ahmet Ertegun, and Miriam Bienstock (Atlantic Records), Joe Bihari (Modern Records), Art Rupe (Specialty Records), Sam Phillips (Sun Records), and a ton more. He goes into topics like the trade magazine “Cash Box,” Payola, and Nashville radio station WLAC, and he describes how they affected how we listen to music today. We are both hoping to post a full written interview to the site sometime in the future (when he gets off his world tour for his book). Until then, he was kind enough to send me an unpublished questionnaire on "Record Makers and Breakers" just after his book came out.
I agree that the indie record business is “an ode to the genius of American capitalism.” Somebody told me recently, “This is a great American story.”
I think it’s fair to say that as the interviews and research progressed, I realized:
(1) Just what a small industry the indie record business was at the start – I called it a “cottage industry”;
(2) How the record men had to learn the business from scratch: not just the art of recording but also building pressing plants themselves, setting up distribution systems, learn publishing, etc. etc. (see Art Rupe's wonderful new rules, chapter 25).
(3) How everybody seemed to know each other and worked together to a large extent;
(4) How the nascent industry was dependent upon several integral cogs in the machine i.e. record distributors, jukebox operators and distributors, radio/television, disc jockeys, promo men, retail outlets, trade magazines etc. It wasn’t just about the record makers – or indeed the artists.
(5) I was aware of the cover version syndrome and like everybody else put the blame on the "nasty" major labels, but then I began to understand that indie publishing companies were pitching their hit songs to majors – and recorded covers themselves. So it wasn't all one-way traffic.
(6) Must admit I didn't realize the full extent of the majors poaching the indie hit artists until I started listing the artists and the labels.
* Tell me about the importance of the jukebox market (compared to radio and retail).
Just to say that, as stated in the book through New Orleans’ Cosimo Matassa early on, the jukebox operators were terribly influential in dictating the sound of the record, also the length of the record – the shorter the record, the more plays. Basically jukebox play was free promotion – and represented bulk sales to the indies. The jukebox people, whatever their business practices, were very important cogs in the rock ‘n’ roll machine.
March 16, 2012