Joe Giardullo

[rollhead]

I know there are a number of Joe McPhee fans on this site, so I thought I would post this news about Joe Giardullo, who plays with McPhee quite a bit.

Giardullo has a new CD coming out.


Soprano saxophonist/composer Joe Giardullo will be the guest on BEAUTY AND THE BEAT, heard on Berkshire Radio, hosted by Larry Chernicoff. The show will air live at 97.7 FM in the Berkshires and streaming at www.berkshireradio.org from 4-5:30 pm on Thursday August 16th.
Joe will be giving listeners a preview of his new recording that will be released in September on Rogue Art Records (Paris). That disc, RED MOROCCO, features an ensemble of 14 musicians playing Joe's G2 music. He'll also air some of his music for string quartet, recently recorded for Mode Records and due out in early 2008, and a new composition dedicated to sculptor Richard Serra, titled VERBS-1, for chamber orchestra.

About this music the Grammy award winning writer John Szwed has written: “The results are an elegant, shimmering, ringing music, like colors spiking across the plane of a Monet canvas, or spinning like a piece of Calder's kinetic art; a constantly evolving, deeply sonic performance, collectively improvised, and decentered; a self-organizing musical system, with minimal input or constraints from outside. Giardullo is willing into existence a music that occurs beyond his control.”

As Joe says, “Freedom through unity, not consensus.”


http://www.joegiardullo.com/

[Paul B]

I haven't been that knocked out by Giardullo, but I'll have to give him a try again, maybe with his recent Lacy tribute.

Originally Posted by rollhead

As Joe says, “Freedom through unity, not consensus

Wasn't JamesH's old tag "consensus the hard way?" Maybe he needs to listen to more McPhee....

Incidentally, Roaratorio has a limited-edition release of a solo McPhee concert on vinyl, with hand-painted covers by Judith Lindbloom (who did the covers for the label's Lacy release a few years ago). Good stuff.

[rollhead]

PM me your address. I will send you Giardullo's tribute to Lacy.

Joe's an interesting guy. He stopped being a professional musician a number of years ago to raise a kid and start a marble and granite business. After he sold his business, it was McPhee who basically got him out of "retirement."

McPhee lives in Poughkeepsie, and Giardullo is near Kingston -- not too far apart.

Plus, Joe G. has worked with Pauline Oliveros off and on.. Another interesting pairing.

G. is helping me tootle my way through "Findings," as well as puzzle out some of George Russell's book.

He's one of these guys who knows how to explain difficult things to a knucklehead like me, without making me feel like an idiot.

[Paul B]

Thanks, I'll send you the info.

Good luck with the Russell book (I assume you're talking about "The Lydian Chromatic Concept"). I've never tackled it, though every few years I think I should try. Word is the original edition from many years back is much better than the current one, so if you don't yet own it I'd search the web for an old copy. I do think you'll find it to be the antithesis of Lacy's approach, but no matter; it's good to see the whole spectrum so you can figure out just where you want to be and what you want to focus on.

[rollhead]

I wish I had thought of looking for the old edition. The new one set me back $125, and it is much more complicated than needed.

[rene]

Rollie -- have you listened to Giardullo's 'Now Is'? pick this disc up a few years back, some intense music (but still accessible) and some were laid back. Cohesive mix on both Giardullo's soprano sax and McPheee's pocket trumpet when they blow simultaneously. Mike Bisio's arco work would get you to listen closer. Title track seems the best of the lot. i wonder how their first disc, 'Shadow & Light' sound like?

[Erik Lund]

They play well together. Saw them in Burlington (Gary was there, I think) 5-6 years ago and it was really good. I have Giardullo on CD only with McPhee, I think...

[rollhead]

Originally Posted by rene

Rollie -- have you listened to Giardullo's 'Now Is'? pick this disc up a few years back, some intense music (but still accessible) and some were laid back. Cohesive mix on both Giardullo's soprano sax and McPheee's pocket trumpet when they blow simultaneously. Mike Bisio's arco work would get you to listen closer. Title track seems the best of the lot. i wonder how their first disc, 'Shadow & Light' sound like?

Rene -- I haven't heard it, but thanks for the heads-up.

I am now in the process of picking up more music with McPhee as the leader.

[relyles]

I have the solo Lacy tribute. I was not familiar with Giardullo other than his name before receiving a copy to review. On repeated listens I enjoyed it more than I thought I would.

[Erik Lund]

Rollhead, what McPhee do you have?

If you don't have it pick up Trinity. It's a great trio record of sax/synths/drums - from the 70's - just really great stuff.


Also - Emancipation Proclomation - live duet with Hamid Drake. The first track is so unbelievable.

Undersound is another good one to find - and any of his solo stuff on HatHut.

[Xavier]

Originally Posted by relyles

I have the solo Lacy tribute. I was not familiar with Giardullo other than his name before receiving a copy to review. On repeated listens I enjoyed it more than I thought I would.

I liked the recording too. I used to live in the Hudson Valley and heard him many times playing in his early years - very traditional tenor with a big swing and bebop influence. Met him several times at local gigs in the 1970s, and he was easy to talk to. Enjoyed his playing. At the time he had a good reputation among musicians in the area, and was very personable. For awhile he did some transcribing/chart copying for Anthony Braxton who also lived in the valley at the time. I remember talking to him and after he put out his first vinyl record ("Gravitation") that was definately not swing/be-bop. At one gig he talked a lot about Webern which surprised me until I heard his first album. At the time he was having some trouble with his teeth and was learning to play stand-up bass in case his mouth/teeth didn't get better. I never heard him play bass and don't know if he followed up on it. Anyway, interesting guy and interesting music.

[rollhead]

Originally Posted by Erik Lund

Rollhead, what McPhee do you have?

If you don't have it pick up Trinity. It's a great trio record of sax/synths/drums - from the 70's - just really great stuff.


Also - Emancipation Proclomation - live duet with Hamid Drake. The first track is so unbelievable.

Undersound is another good one to find - and any of his solo stuff on HatHut.

Erik -- I don't have much McPhee at all. But I will definitely pick up your recommendations. Much appreciated.

[rollhead]

Originally Posted by Xavier

I liked the recording too. I used to live in the Hudson Valley and heard him many times playing in his early years - very traditional tenor with a big swing and bebop influence. Met him several times at local gigs in the 1970s, and he was easy to talk to. Enjoyed his playing. At the time he had a good reputation among musicians in the area, and was very personable. For awhile he did some transcribing/chart copying for Anthony Braxton who also lived in the valley at the time. I remember talking to him and after he put out his first vinyl record ("Gravitation") that was definately not swing/be-bop. At one gig he talked a lot about Webern which surprised me until I heard his first album. At the time he was having some trouble with his teeth and was learning to play stand-up bass in case his mouth/teeth didn't get better. I never heard him play bass and don't know if he followed up on it. Anyway, interesting guy and interesting music.

Xavier -- you hit the nail on the head on the reason why I like Joe as a teacher. He is very down to earth and personable. And completely nonjudgmental about my (poor) playing. Plus, he is the ONLY sax teacher I have had who hasn't criticized my "non-Larry Teal" embouchure.

He doesn't approach music with the idea -- "this is what you have to play and this is how you have to play it." It is all about what you want to play and how you can discover a way to play it -- given ones limitations.

I find it refreshing and encouraging.

[Xavier]

I found him to be easygoing and low key. He always seemed to have a whole lot in reserve, meaning he knew a lot more than he felt necessary to display. Smart guy who didn't have to let the world know.

[Gary Sisco]

I remember that show, Erik. I was just going to post about it. I liked his playing that night, and we got to talk a little afterward. Seemed like a nice guy. He and Joe sounded good together, I thought.

[Dig Gonsalves]

Rollhead: "non-Larry Teal" ... now you're talkin'! I allowed Larry's mindset/attitude to ruin exactly one afternoon, and I haven't looked back. I chose, as Jimmy Lyons would put it, "other afternoons" ... but really, how could anybody work on mouthpiece-only intervals or scales -- or communicate anything of a personal nature using reeds -- coming from the gray flannel bureaucracy of Larry Teal?

I hope Joe finds a reason to visit the west coast. You're fortunate to have such a mentor.

[Paul B]

Teal's book does have some valuable information; the reed diagram is useful when you need to clip or file, and there are other salient sections. But yes, there's no much there for jazz and improvising musicians. On the other front, I've heard many say that even Joe Allard's ideas are sometimes questionable. There's more than one way to make a saxophone work...

Rollhead, you've been fortunate to work with Giardullo and Don Byron...I'm sure they're giving you a lot to chew on.

[rollhead]

Originally Posted by Dig Gonsalves

Rollhead: "non-Larry Teal" ... now you're talkin'! I allowed Larry's mindset/attitude to ruin exactly one afternoon, and I haven't looked back. I chose, as Jimmy Lyons would put it, "other afternoons" ... but really, how could anybody work on mouthpiece-only intervals or scales -- or communicate anything of a personal nature using reeds -- coming from the gray flannel bureaucracy of Larry Teal?

I hope Joe finds a reason to visit the west coast. You're fortunate to have such a mentor.

Dig -- You probably already know this, I found that there were two schools of thought on the embouchure. The "lip rolled over the bottom teeth" I've heard referred to as the "Larry Teal" embouchure. The lower lip out is the "Joe Allard" appraoch. Allard is the guy who taught a bunch of serious saxophone players, including Michael Brecker who first told me about the Allard style.

But Paul, you are right. I have heard some wierd things about what Allard suggested doing to reeds. Rubbing the flat side down, around and around on a piece of paper, 50 times, for example. I never got any sense that it helped much, unless the reed was moldy and cheesy, and by that time it's usually ready be thrown out.

Dave Liebman studied with Allard, and has a lot of his ideas in a DVD that I have:
http://aebersold.com/Merchant2/merch...Code=DAVLIEBOO

There is an Allard video out there, which I have on VHS... I think it might have recently made it to DVD as well.

Allard had bunches of other students including the following:
A partial listing of students of Joe Allard:

Bob Ackerman, Maurizio Giammarco, Ken Radnofsky
Bob Berg, Jon Gordon, Richard Reiter
Vickie Bowden, Roger Greenberg, John Richmond
Michael Brecker, Albert Hunt, Charles Russo
George Brooks, Gary Keller, Loren Schoenberg
Don Byron, Billy Kerr, Charles Schneider
Harry Carney, Pat LaBarbera, Jack Snavely
Carmine Campione, Bobby Levine, Andrew Sterman
John Cipolla, Dave Liebman, Bobby Stern
Allan Chase, Col Loughnan, Richard Tabnik
Paul Cohen, Victor Morosco ,Evan Tate

Eric Dolphy, John Moses, Dave Tofani
Eddie Daniels, Bill Pierce, Premik Russell Tubbs
Marty Ehrlich ,Harvey Pittel ,Pete Yellin
Jody Espina ,Tito Puente

Don Byron, who also studied with Allard, says that Coltrane was a student of Allard's too. But I have heard others dispute this.

[rollhead]

Originally Posted by Paul B

Teal's book does have some valuable information; the reed diagram is useful when you need to clip or file, and there are other salient sections. But yes, there's no much there for jazz and improvising musicians. On the other front, I've heard many say that even Joe Allard's ideas are sometimes questionable. There's more than one way to make a saxophone work...

Rollhead, you've been fortunate to work with Giardullo and Don Byron...I'm sure they're giving you a lot to chew on.

Paul, Don is going to be back at SUNY Albany this fall. I don't know if I am going to be studying with him again through SUNY. Only because it is a financial lift for me to pay out the $300 per credit costs, plus the additional "lab fees" to take private, weekly lessons.

Joe G. is very very flexible. He gives me a bit to work on and says -- "call me when you have mastered that, and we will set up another lesson." That approach works best for me.

That said -- I hope to get together with Don again informally from time to time.

I was looking into the possibility of taking Dave Liebman's "summer camp" down in the Pocanos. But I don't think I am ready for it, and I doubt if I will be ready for it for several more years. But it is on my radar screen as a future possibility. Maybe as a 60th birthday present in five years.

Saxophone Masterclass Description

Since 1987 David Liebman has been conducting an annual Saxophone Master Class held at East Stroudsburg University, East Stroudsburg, PA (one and a half hours west of New York City). Students who are accepted (all ages) spend one week with Lieb delving into his philosophy of tone production discussed in his book and DVD on the subject. Other topics covered include transcription, rhythmic concepts, chromaticism as well as selected private videos and recordings shown during the week of master performances by Coltrane, Miles Davis, the Saxophone Summit and more. Students get the opportunity to be critiqued on their compositions by an all star rhythm section which includes pianist Phil Markowitz, bassist Tony Marino and drummer Marko Marcinko, topped off by a performance at the famous Deer Head Inn in Deleware Water Gap, PA.

Chromatic Harmony Masterclass Description

In the past few years, Lieb has been offering instead of the saxophone class, a week spent entirely on his concepts as described in "A Chromatic Approach to Jazz Harmony and Melody"(Advance Music) and taught for the Master's Degree at the Manhattan School of Music. This class is open to all instruments and focuses on composition as well as how to utilize chromaticism in one's playing. Refer to the blurb below for which class will be next and the required recording to send for application. The usual period is the end of July/beginning of August with exact dates posted a few months before the summer period.

[rollhead]

Originally Posted by Erik Lund

Rollhead, what McPhee do you have?

If you don't have it pick up Trinity. It's a great trio record of sax/synths/drums - from the 70's - just really great stuff.


Also - Emancipation Proclomation - live duet with Hamid Drake. The first track is so unbelievable.

Undersound is another good one to find - and any of his solo stuff on HatHut.

Erik, just ordered "Trinity and "Emancipation Proclamation" from Jazz Loft, and I will get "Undersound" later. I see it is available on Amazon.com.