Если на флюгеле так легко играть, почему же все на нем не играют? Кстати, выше до 3-й играть на флюгеле руднее, чем на трубе.
Вот ссылка на сайт с биографией Mangione:
http://www.chuckmangione.com/bio.htmlА вот видео из серии "Легенды джаза":
| <![CDATA[<a href="http://www.youtube.com/watch?v=4PE9N7Iju48" target="_blank" class="aeva_link bbc_link new_win">http://www.youtube.com/watch?v=4PE9N7Iju48</a>]]> |
Кстати, по рекомендации Диззи Гиллеспи Арт Блейки пригласил Чака в "Jazz Messengers", где он сменил Фредди Хаббарда. Он играл там ровно год--с ноября 1965 по октябрь 1966:
October 30, 1965: Freddie Hubbard-tpt; Nathan Davis-tsx; Jaki Byard-p; Reggie Workman-b
Berlin, Germany (October 30, 1965) (private recording) [-TN]
- Palais de la Mutualite, Paris Jazz Festival, Paris, France (November 3, 1965) [unrecorded] [db 1/13/66 p.33]
- Kurhaus, Den Haag, The Netherlands (November 5, 1965)
- Concertgebouw, Amsterdam, The Netherlands (midnight November 5/6, 1965)
[This group was billed as Art Blakey's New Jazzmen and although George Tucker was scheduled to participate, his death on October 10, 1965 prevented this. Poster for the Paris Jazz Festival with Tucker's name listed is reproduced in Jazz Journal 1/66 p.6.]
"One time, in 1966, we had come back to New York from a gig in Cincinnati, and all that week we were hearing advertisements on the radio for Art Blakey and the Jazz Messengers at the Jazzmobile. Neither Hicks nor I had heard from Bu about this, but we figured, 'Well, we know where we're working.' So we went up there. We could hear music from all the way down the block. And there was the Jazzmobile moving down the street, with Art and a whole new band!" - Gary Bartz, quoted by Karen Bennett in Musician, February 1991, p.36. It would seem that the 1966 date mentioned should be 1965.
"I came back to Rochester for a weekend during this time and promptly got a call from Art Blakey in New York. So I went with Art for two years and recorded two albums with him. At that time we had Frank Mitchell on tenor and Reggie Johnson on bass. John Hicks had just left so Keith Jarrett was on piano. Then Mike Nock was on for a while and then Chick Corea came on the band. What a school that was! I went to school with piano players. But then after two years I couldn't handle it anymore...work two weeks, off a week, work a weekend, be off the week..." - Chuck Mangione, quoted by Jim Szantor in Down Beat, November 25, 1971, p.12.
November 9, 1965: Chuck Mangione-tpt; Frank Mitchell-tsx; Lonnie Liston Smith-p; Reggie Johnson-b
- Five Spot, NYC (November 9, 1965) [VV 11/4/65 p.12, VV 11/11/65 p.14]
On November 19, 1965, Blakey participated in a drum workshop at Hunter College, NYC with Max Roach, Jo Jones, Joe Morello, Roy Haynes, Louie Bellson and pianist Billy Taylor [VV 11/11/65 p.16]
- Pep's Show Bar, Philadelphia, PA ("recently") [db 12/2/65 p.38] [only Mangione named]
- Pete's Hideout, NYC (November 24, 1965) Blakey listed as guest with Ali Jackson and Wilbur Harden. Possible that he never appeared. [poster]
- Five Spot, NYC (November into December 1965) [VV 11/25/65 p.12, VV 12/16/65 p.18] [personnel unknown]
"Then in New York I was sitting at home twiddling my thumbs and playing the drums and getting all the neighbors mad. Finally I got to play for about ten minutes at the Vanguard; it was a jam session thing. Tony Scott and Art Blakey were both there. So I worked with Tony a few times at the Dom and then Art got in touch with me. I was with him four months." - Keith Jarrett, quoted by Bob Palmer in Down Beat, October 24, 1974 p.16.
1966
January 1, 1966: Chuck Mangione-tpt; Frank Mitchell-tsx; Keith Jarrett-p; Reggie Johnson-b
- Lighthouse, Hermosa Beach, CA (January 1-9, 1966) Buttercorn Lady (Limelight 82034) [db 1/13/66 p.44]
- Half Note, NYC (February 4-5, 1966) (private recording from February 4) [-BR] [lineup unknown]
"I never did believe in separatism. Don't forget that as far back as 1965 I had Chuck Mangione and Keith Jarrett in the band. The 1960's were a difficult time for everybody to get along together, because the black consciousness thing was very strong, and instead of just playing the music, some cats were using the bandstand for a political rostrum. That hurt. It had nothing to do with our musical objectives. Most of those guys didn't even vote. All we're supposed to do, I feel, is try to make people happy." - Art Blakey, quoted by Leonard Feather in L.A. Times, October 30, 1977, p.78.
"And these musicians were black. And they couldn't keep time. And they couldn't play. They couldn't play the blues. I had to get a white trumpet player to play the blues! At least Chuck Mangione come in here and play the blues. He tried to play the blues, do everything he possibly could. You know? And these kids standin' around trying to put these guys down. Oh, they put Keith Jarrett down in my band, Chuck Mangione. When they heard the band, I said, come on, you want to sit in? They didn't dare. Not one of them. They didn't dare. I knew exactly what I was doing. When I needed a trumpet player, I called Dizzy. Dizzy said, 'I got it. Chuck Mangione.' Sent him right to me. And that was a blessing, 'cause I didn't have any. Couldn't find none nowhere. And this is what was happening. Oh, there probably were some down in the south or out west, but I didn't hear anyone here in New York. Regardless of what they doing out there, if you ain't in New York you in trouble. You know what I mean, you don't want no musician coming out from Chicago coming in unless he's an exception. But he's got to be in New York. That's what I tell all the musicians when I meet them. Get to New York. Get there. Go there and stay. Exchange ideas." - Art Blakey, Jazz Magazine, Winter 1979, p.48.
"It was really a misfit. The reason why things were so terribly unbalanced there was because we had Keith, who was a very accomplished musician and there were other musicians in the band who were growing. Sometimes a man has so much talent he would get bored waiting for the rest of the cats to catch up. And Keith could play other instruments too and he knew what the saxophone player was doing wrong, what the trumpet player was doing wrong. He was in the band because of me, because he liked me. But it's like a kid in school, put him in the wrong class and he gets bored." - Art Blakey, Cadence, July 1981, p.9.
"At the time, the management of that band was a complete shambles, but there were other things, all through that period, like nearly crashing on a drive out to the West Coast. It was one of the most nervewracking trips anybody has ever taken; Chuck got out of the car in Oklahoma and took a plane the rest of the way. At any rate, I decided to leave and our last job was in Boston. I had met Charles Lloyd there earlier. […] Now, when I decided I was leaving Art's group, I looked at the club's schedule and Charles was coming in the following week, so off the top of my head I called him up. He had already asked Steve Kuhn but somehow he got out of that or Steve had to do something else." - Keith Jarrett, quoted by Bob Palmer in Down Beat, October 24, 1974 p.16.
[Jarrett was performing with Charles Lloyd as early as February 16, 1966 (TV broadcast)]
c. Spring 1966: Chuck Mangione-tpt; Frank Mitchell-tsx; Mike Nock-p; Reggie Johnson-b
- Plugged Nickel, Chicago, IL (March 11-20, 1966) [unrecorded] [db 3/24/66 p.17, 53, -SL]
- Pep's Show Bar, Philadelphia, PA (March 28-April 2, 1966) [db 3/24/66 p.53]
April 1966: Chuck Mangione-tpt; Frank Mitchell-tsx; Lonnie Liston Smith-p; Reggie Johnson-b
- Village Vanguard, NYC (April 26-28, 1966) [unrecorded] [VV 4/21/66 p.18, NYAN 4/28/66 p.16, db 6/2/66 p.14]
"Drummer Art Blakey's Jazz Messengers, at the Village Vanguard in April, had pianist Lonnie [Liston] Smith in place of Mike Nock, who had replaced Keith Jarrett." - Down Beat, June 2, 1966, p.14
Spring 1966: Chuck Mangione-tpt; Frank Mitchell-tsx; Chick Corea-p; Reggie Johnson-b
- Blues Unlimited, Detroit, MI (Spring 1966) [unrecorded] [db 6/2/66 p.42] ["recently appeared"]
- Half Note, NYC (May 6-7, 1966) [VV 5/5/66 p.16]
- Half Note, NYC (May 13-14, 1966) [db 5/19/66 p.54]
Five Spot, NYC (3 weeks c. late May 1966) [db 6/30 p.15]
- NYC (May 27, 1966) Art Blakey: Hold On, I'm Comin' session (Limelight) [The Mercury Labels]
- Braves Stadium, Atlanta Jazz Festival, Atlanta, GA (May 28, 1966) [db 6/2/66 pp.12-13]
- Jazz Society for Performing Artists, Baltimore, MD (May 30, 1966) [db 6/30/66 p.45, db 7/14/66 p.69]
- Jazzmobile, 137th St. & Lenox Ave., NYC (July 13, 1966) [db 7/28/66 p.10]
- Village Gate, NYC (August 2-14, 1966) [db 8/11/66 p.44]
October 1966: Chuck Mangione-tpt; Frank Mitchell-tsx; Chick Corea-p; Juni Booth-b
- Town Tavern, Toronto, Canada (one week October 1966) [Toronto Star, October 4, 1966] [db 11/17/66 p.53]
- Varty's, Boston, MA [-JW, db 12/1/66 p.41]
"Yeah, it was just after the time that Chuckie Mangione and Chick were playing in Art Blakey's band. They left the band at the same time, and so Chick, Chuck, Joe Romano, Frank Pullara, and myself got a job playing six nights a week in Rochester, while I was going to Eastman." - Steve Gadd, Down Beat, July 1982, p.16. [This could not have lasted long because Corea soon joined the Stan Getz group, reported in db 1/12/67. This article also mentioned Bobby Timmons taking Corea's place for a tour of Japan (the one that was canceled).]
