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From: mfs@mhuxr.UUCP (SIMON)
Newsgroups: net.music
Subject: Re: Dewars Festival: Jazz in the Park
Message-ID: <413@mhuxr.UUCP>
Date: Fri, 30-Aug-85 13:26:01 EDT
Article-I.D.: mhuxr.413
Posted: Fri Aug 30 13:26:01 1985
Date-Received: Sat, 31-Aug-85 08:39:21 EDT
References: <407@mhuxr.UUCP> <546@bonnie.UUCP>
Organization: AT&T Bell Laboratories, Murray Hill
Lines: 54

> > ME:
> > .............................Getz is the greatest living tenor
> > saxophonist, with only Wayne Shorter his equal......
> >
> Bill Hery: 
> Although I have a great deal of respect for Getz' playing, particularly
> much of his older work, I think it's an exaggeration to call him the
> greatest living tenor saxophonist--surely Sonny Rollins and Dexter Gordon 
> are at least his equal.  
> 

Of course, terms like "best" and "greatest" are subjective and have been the
start of many an argument among fans. I never meant any insult to
Rollins, Gordon, or anyone else.

Gordon has recorded little interesting music in the last 7-8 years.
Other than an exceptional New Years Eve gig broadcast from San Francisco
three years ago, I have heard him do little interesting live playing
either (he has not played the Apple in some 2 years that I am aware of)

Bill correctly observes that Rollins has often been brought down by the
inferior musicians he surrounds himself with. However, his recent
*solo* concert at MOMA was only so-so (my immediate impression, I hope the LP
will dispell it) Also, the Milestone Jazzstars tour of 1977, with McCoy Tyner, Ron
Carter and Al Foster, all surely Rollins' peers, is also not up
to the level of, say, SAXOPHONE COLOSSUS or MORE FROM THE VANGUARD.

Getz's recent playing, on the other hand, is in my opinion, the
best he has done ever (OK, THE CHICK COREA/BILL EVANS SESSIONS is
pretty hard to top.) This is based on the four occasions I have seen
him in the last year and 1/2. I am sure Bill will agree that mastering
the ballad form is the truest test of mainstream playing. I just
don't think anyone can match Getz's depth of expression there.

There is ALWAYS room for argument, but I feel Stan's case is
pretty strong. Now Dex or Sonny could come out and release monster
albums that will send every one scurrying for cover. If and when
that happens, I'll be the first to bow humbly before them.

As for Wayne, he hardly plays on Zawinul's plantation, so that does not count.
I was of course referring to his work with VSOP, which is always fine
and often stunning (VSOP (one side), THE QUINTET, LIVE UNDER THE SKY
and TEMPEST IN THE COLOSSEUM, all on Columbia) as well as his
marvelous obbligatos behind Joni Mitchell on MINGUS and WILD THINGS
RUN FAST (the LPs are uneven, but Wayne shines)

As I did not say in my original article, I was referring to mainstream
tenorists. Bill is absolutely correct about David Murray. (Of course,
David is a leader of the so-called "new traditionalism" movement, so
maybe he should be called mainstream as well. Time to revise the theories!)

Besides, it's more fun to argue, isn't it?

Marcel Simon