Good story. I feel (for me) # 3/4/5 were most important.
I even got to meet one of my Role Models when young - George Benson - who was already following in the mold of one of my other Heroes - Wes Montgomery. I was at that George Benson gig the 1st 3 nights he was in that club. This was not long before he had his 1st huge pop hit -This Masquerade. It was early in the week & quiet in that club, which was how I liked it. Was able to sit directly in front of him every night. I got to meet him, & on breaks he sat with me several times & really responded to my Wes questions. He demonstrated several techniques & tips. What a super Gracious fellow he was to me, a young worshiping neophyte.
I knew he sang, because I had heard his Big Boss album (my Guitar teacher), but had no idea he was so phenomenal as a singer. He said (right before his huge hit ,"ya ,my manger has been after me to do more singing". Funny - he influenced me to start singing as well, which led to many things for me beyond just being a Guitarist only.
“I would literally practice and listen to records probably twelve hours out of a day. " The difference is he innately knew what to practice and what to listen to. I think that is a huge part of the talent that is greatly overlooked. I am also sure he hear's it differently than I hear it...I would imagine he hears it with incredible depth and attention to nuance I cant even recognize.
I completely concur with the idea of getting extremely familiar with a small collection of the best music to ground oneself in so many aspects of playing and learning about it. He was smart/lucky to do that.
Regarding point 1: the lullabies. I heard something similar from Clifford Jordan when I interviewed him for The Wire years ago: “My Mother said when I was just a baby laying in the crib, I would sing along with the radio.” Cliff personally remembered, “sitting on the piano pedals and yelling to hear the echo.” The enchantment starts early! Thanks, Ted.
“We discover, too, how many obstacles even artists of exceptional potential face—and must overcome—during their formative years.
It’s good to keep all this in mind in our dealings with young people who are in the early stages of their own personal and vocational development—musical or otherwise. “
So true!
(Cross The) Heartland from American Garage really sounds like a drive across the heartland (my home). :)
I rarely see the Miles Davis album Four And More mentioned, but it is one of my favorites. Interesting that Metheny listened to it so much.
(Backstory on Four And More: Miles Davis did a concert fundraiser with his quintet at Lincoln Center in 1964 for a civil rights charity. Part of the concert was released in 1965 as the live album My Funny Valentine. That album was successful enough that the balance of the concert — mostly up-tempo numbers — was released in 1966 as Four And More.)
I've been lucky enough to spend some time with a few top flight players: Steve Vai, Bruce Conte, Jon Herington and Larry Carlton. All of them share a trait that's discussed here - a tremendous work ethic. They were all also a joy to learn from. I'd sure dig meeting PM one day too. September 15 and Better Days Ahead may be two of the beautiful songs ever written.
PS - I was always luckier than many of the other musician friends I had, who were very close-minded about widen your influences. So many of them, just pound their brain with that One thing & that's it.
Love reading about Pat. He's such a phenom. He's just a few years my senior and already was a local legend. I grew up in Grandview, Missouri, just about ten minutes to the west of Lee's Summit. I still live in the area.
I remember picking up New Chautauqua, and 80/81 when they each came out. I lost my copies for years, but a couple years ago, re-acquired a them both via Discogs. What a treat!
Love reading these tidbits, and seeing the old Kansas City clippings reminds me what a great place Kansas City was to grow up in during this time. It's often been overlooked, relegated as an afterthought, a cowtown, but its history in jazz, especially, and its wide-open, western attitude has always resulted in fertile ground for interesting art and music.
I take Pat Metheny's statement about Wes Montgomery’s Smokin' at the Half Note being “the gold standard of what is possible to achieve in music.” with a grain of salt but then again I think he meant it in the confines of a live jazz recording. Make no mistake, this is a desert island record as far as jazz guitar is concerned and to my ears at least the holy trinity regardless of style consists of Wes Montgomery, Django Reinhardt and Jimi Hendrix, all self-taught who could not read music. Go figure.
Point 2 I find interesting. Did this in any way contribute to his future succes? Who knows.
It reminds me of one of the most prolific and bestselling Dutch novelists, Maarten 't Hart. He grew up in a religious household with only one book- the Bible. Reading books was discouraged and even regarded as dangerous. Still, he became a verocious reader and ultimately a famous writer.
Maybe this kind of rejection serves as a filter: do you really want it bad enough?
It does undermine the modern philosophy of child raising:: stimulate and praise him or her to death, that will make them happy and succesful.
Good story. I feel (for me) # 3/4/5 were most important.
I even got to meet one of my Role Models when young - George Benson - who was already following in the mold of one of my other Heroes - Wes Montgomery. I was at that George Benson gig the 1st 3 nights he was in that club. This was not long before he had his 1st huge pop hit -This Masquerade. It was early in the week & quiet in that club, which was how I liked it. Was able to sit directly in front of him every night. I got to meet him, & on breaks he sat with me several times & really responded to my Wes questions. He demonstrated several techniques & tips. What a super Gracious fellow he was to me, a young worshiping neophyte.
I knew he sang, because I had heard his Big Boss album (my Guitar teacher), but had no idea he was so phenomenal as a singer. He said (right before his huge hit ,"ya ,my manger has been after me to do more singing". Funny - he influenced me to start singing as well, which led to many things for me beyond just being a Guitarist only.
“I would literally practice and listen to records probably twelve hours out of a day. " The difference is he innately knew what to practice and what to listen to. I think that is a huge part of the talent that is greatly overlooked. I am also sure he hear's it differently than I hear it...I would imagine he hears it with incredible depth and attention to nuance I cant even recognize.
I completely concur with the idea of getting extremely familiar with a small collection of the best music to ground oneself in so many aspects of playing and learning about it. He was smart/lucky to do that.
Regarding point 1: the lullabies. I heard something similar from Clifford Jordan when I interviewed him for The Wire years ago: “My Mother said when I was just a baby laying in the crib, I would sing along with the radio.” Cliff personally remembered, “sitting on the piano pedals and yelling to hear the echo.” The enchantment starts early! Thanks, Ted.
“We discover, too, how many obstacles even artists of exceptional potential face—and must overcome—during their formative years.
It’s good to keep all this in mind in our dealings with young people who are in the early stages of their own personal and vocational development—musical or otherwise. “
So true!
(Cross The) Heartland from American Garage really sounds like a drive across the heartland (my home). :)
I rarely see the Miles Davis album Four And More mentioned, but it is one of my favorites. Interesting that Metheny listened to it so much.
(Backstory on Four And More: Miles Davis did a concert fundraiser with his quintet at Lincoln Center in 1964 for a civil rights charity. Part of the concert was released in 1965 as the live album My Funny Valentine. That album was successful enough that the balance of the concert — mostly up-tempo numbers — was released in 1966 as Four And More.)
I've been lucky enough to spend some time with a few top flight players: Steve Vai, Bruce Conte, Jon Herington and Larry Carlton. All of them share a trait that's discussed here - a tremendous work ethic. They were all also a joy to learn from. I'd sure dig meeting PM one day too. September 15 and Better Days Ahead may be two of the beautiful songs ever written.
Ted writes a great story, nothing comes easy. Hard work pays off and determination pays off. I need to pay attention to this truth.
This is my favorite article so far
Great stuff, Ted! 👏🏻👏🏻👏🏻
PS - I was always luckier than many of the other musician friends I had, who were very close-minded about widen your influences. So many of them, just pound their brain with that One thing & that's it.
I’m keeping this article as an oath to myself. Thank you Ted.
Love reading about Pat. He's such a phenom. He's just a few years my senior and already was a local legend. I grew up in Grandview, Missouri, just about ten minutes to the west of Lee's Summit. I still live in the area.
I remember picking up New Chautauqua, and 80/81 when they each came out. I lost my copies for years, but a couple years ago, re-acquired a them both via Discogs. What a treat!
Love reading these tidbits, and seeing the old Kansas City clippings reminds me what a great place Kansas City was to grow up in during this time. It's often been overlooked, relegated as an afterthought, a cowtown, but its history in jazz, especially, and its wide-open, western attitude has always resulted in fertile ground for interesting art and music.
Thanks, Ted
I take Pat Metheny's statement about Wes Montgomery’s Smokin' at the Half Note being “the gold standard of what is possible to achieve in music.” with a grain of salt but then again I think he meant it in the confines of a live jazz recording. Make no mistake, this is a desert island record as far as jazz guitar is concerned and to my ears at least the holy trinity regardless of style consists of Wes Montgomery, Django Reinhardt and Jimi Hendrix, all self-taught who could not read music. Go figure.
Point 2 I find interesting. Did this in any way contribute to his future succes? Who knows.
It reminds me of one of the most prolific and bestselling Dutch novelists, Maarten 't Hart. He grew up in a religious household with only one book- the Bible. Reading books was discouraged and even regarded as dangerous. Still, he became a verocious reader and ultimately a famous writer.
Maybe this kind of rejection serves as a filter: do you really want it bad enough?
It does undermine the modern philosophy of child raising:: stimulate and praise him or her to death, that will make them happy and succesful.