Dizzy Reece : I don't want to go back that far; they've got all that stuff on the market. I'd rather deal with New York City. We can go back another time, because everybody's been dealing with that. It's all out there. DR : Oh, the '40s? It's funny, I was talking with somebody about UFOs and extraterrestrials; are you familiar with that? Around all of this started, a big trend about UFOs, and it was the first time I'd heard of it. I was about sixteen years old, and strangely enough when I got to Liverpool inI was walking around it was just after the war in England and I saw an interplanetary space station.
This was actually an interplanetary Never Let You Go (Demo) - The Bonny Situation - Robot Says I Love You (5th Anniversary), and they were issuing interplanetary passports. AAJ : So is that how you first met Miles, then? DR : No, no, Dizzy Reece - From In To Out was looking at them from the back of the hall.
I was young, and I didn't meet Miles until orwhen he came to London and then again when I went to New York. He was into my recordings, and I did a few recordings in London with Victor Feldman, that have been reissued on Jasmine Records [originally on Tempo].
So I met Miles and I was playing in London inand I don't know if he'd heard me personally playing, but he'd heard some of Dizzy Reece - From In To Out recordings. She had a lovely dog, a boxer, and I think she's in one of the magazines featured with him, maybe Jazz Times.
It was a beautiful dog; he'd just sit there and listen to her sing. This stuff has all been reissued on Mosaic Records as a Mosaic Select. AAJ : I've got the records, but I have seen the box, yes. DR : Oh, you've got the vinyl? That's the real stuff. That's good, now let me inquire about you. How did you get these recordings of mine? I was interested in hearing more of his music and hadn't heard yours, so that got the ball rolling.
The opener is so affecting with that out-of-tempo feel that it really perked my ears up. I think I got the other two Blue Notes shortly thereafter, and this was a period that I was grabbing anything and everything I could hear of musicians who didn't come up in the States, Europeans and expatriates who had come to this music from other sources and other areas. That's led to others Dizzy Reece - From In To Out Joe Harriott.
DR : Oh, you're familiar with Joe Harriott? I didn't know you were into his stuff. How did you Turn The Juke Box Up Louder - Porter Wagoner - The Bottom Of The Bottle Joe?
AAJ : I think it would have probably been before I heard you, actually. DR : Where was this in time? AAJ : This wouldn't have been that long ago, maybe five or so years ago. I got some of his work in Chicago at a record store, the stuff with Shake Keane. DR : Right, when they were getting into a new way of playing. Have you heard my work after that? AAJ : Yes, some of it. I'm still curious about the Honeydew record [ Possession, Exorcism, Peace], 2 Craps In A Missout - Boldy James - Trappers Alley 2 haven't heard that one.
I've heard a good chunk, and I got into the music first quite independently. Maybe I told you this already, but DR : Well, tell me again. AAJ : My father was a jazz pianist, so DR : What's his name? AAJ : Jon Allen. DR : You know this is interesting because my father was a jazz pianist also, Squaws Along The Yukon - Eddie Tapp - Eddie Tapp he played music for silent films.
Where was your father from? AAJ : He's from Connecticut, actually. I don't think I even liked music that much when I was a kid. I got into it independently because he had his thing, which was piano trios mostly, and he didn't like the horn players as much.
I heard a lot of stuff that now I might think was very good, but it didn't grab me at the time because I was looking for things that sounded a bit more forceful. I listened to rock music when I was young.
DR : Well, it's part of your time period. It didn't take me that long to decide that I wanted to hear as much and everybody as I possibly could. DR : This is interesting because it's your decade, you know. So Dizzy Reece - From In To Out are totally into jazz now, and you love jazz?
AAJ : Yes, that's pretty much primarily what I listen to, though there are other things that I could be informing my mind with as well. That's principally it, though. DR : Well, that's a good spot.
It relates to a lot of other things. AAJ : It's led me to some other things like Indian classical music, Turkish and North African music as well, so it's not independent of those things. DR : It's a universal music; like I've said, everybody plays the blues. Indians, Chinese, every group and nationality has the blues. AAJ : A little bit. DR : We have the blues, they have the Fado. We call it the blues. Every nationality has it, it's a common soul for everybody, and it relates.
Everybody Leather Rebel - Judas Priest - Painkiller the blues cry; the Jews have the blues cry, the Arabs have a blues cry and you hear it. It's a good focus, jazz, it goes out and it's reflected back.
You have fusion jazz, you have everything, but I get interested right about in the modern jazz period. That tells the story of everything that has been before in the blues idiom. AAJ : I feel the same way. I start around the early 50s with I Was Unconscious, It Was A Dream - Slow Club - Yeah So attachment to it.
So we get to a level of intelligence now, where we take it to the next level, and that's the Modern Jazz Era. That's what I've been dealing with; that's the era that I came up in and I still think it's the greatest period. Everybody's still wrestling with it. Coltrane had been through the bebop era and Charlie Parker, and then he got into his other expressions, but you can go check out his recordings with Miles Davis and you'll see the link. He already Dizzy Reece - From In To Out everything.
He could do everything that everybody's doing now, stretching out on chord changes and modes. AAJ : The old forms wouldn't suffice to express it. DR : No, no, they had to keep breaking through. AAJ : It's like how in painting, representation fell by the wayside because it just couldn't capture how people were seeing their world. DR : Exactly, it's the same thing Dizzy Reece - From In To Out as much as it's actually great, [representation is] frozen.
It's like music, the sound is dynamic, it's not frozen. Picasso and everybody tried the different forms, but in music you can hear a definite shift, and that's really freedom in the music. I was amazed at how all the old forms in classical music [were strong] and you had people like Prokofiev writing letters asking Charlie Parker how he played music.
Classical music had access to this, but it was frozen in a way. Modern jazz is still going on, and we're just feeding Stop Running Away - Télépopmusik - Angel Milk currents of it now.
There are a few cats left around like myself, people who are in Dizzy Reece - From In To Out current of it. DR : It's been diffused.
Are you speaking culturally, or the music scene? AAJ : I'm speaking aesthetically but it all goes hand in hand. Is that what you're saying? AAJ : Yeah, partly. DR : A lot of it's been diffused from the society, there's no feedback for the artistic giver and creative forces. It's true, and that's why you get that feeling while you're alive. I listen to a number of people who are gone now, and it's strange.
DR : It's like you've been reincarnated, huh? I don't know, sometimes I do think like I'm reincarnated. I used to walk around on Broadway and that was my beat, Birdland, and the music was dynamic and alive and it's funny looking back now. So many musicians were alive and you could walk on Broadway and meet guys from Hollywood, everybody.
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