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Distinguished SOTW Columnist and Saxophonistic Art
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HAPPY BIRTHDAY - CHARLIE MARIANO

Charlie Mariano is my biggest influence and inspiration in music.
I was lucky to study with him when I was 17 at Berklee.
< That was a true blessing >

Charlie Mariano's music is singular and yet it reaches beyond his personal
vision.
This is music that speaks to the collective spirit of all mankind. Mariano is a
consummate creative saxophonist of the highest order.His repertoire covers the
waterfront from Euro-open style compositions to indian ragas & scales to hard
driving funk and some of the very best jazz standard playing.

He is one of our legendary contemporary players ...a singular intelligence of
remarkable purity and consistency.

Positively virtuosic !!!
Mariano's playing... streches the mind without destroying the ears !!!
Aspiring saxophonists will find his alto saxophone playing a learning and
listening journey that is invaluable in it's content, and the established
players will simply sit back and take notice of his brilliance.

As Ernie Watts said of Charlie Mariano to me many times .." Charlie Mariano is
a timeless character." Just listen to his intensity!!! His passion!! Wow ~

I feel what Trane was to the tenor..Mariano is to the alto-intensity and
study/adventure wise.

Take your ears to lunch- check his musics out...his playing contains great
virtuosity.Plus- it is adventurous, exciting, innovative, imaginative and
accessible all at the same time.

Check out his latest- Charlie Mariano
Deep in a Dream
2003 Enja Justin Time

With these standards!!!!!!

1 You Better Go Now (6:24)
2 Dew Drops (7:01)
3 Spring Is Here (6:38)
4 I'm a Fool to Want You (9:09)
5 I Only Miss Her When I Think of Her (7:12)
6 Touch of Your Lips (6:42)
7 Etosha (4:20)
8 Close Enough for Love (9:31)
9 Yours Is My Heart Alone (4:37)
10 Deep in a Dream (5:12)

Or some of these ;Artist: Charlie Mariano and the Karnataka College of
Percussion

Album: Jyothi (1983, ECM 1256)
Personnel: Charlie Mariano (sax, flute), R.A. Ramamani (vocals, tamboura),
T.A.S. Mani (mridangam), R.A. Rajagopal (percussion), T.N. Shashikumar
(kanjira, konakkol)

Artist: Charlie Mariano and the Karnataka College of Percussion, with R.A.
Ramamani

Album: Live (1989, Intuition/VeraBra 2034)
Personnel: Charlie Mariano (sax), T.A.S. Mani (mridamgam), R.A. Ramamani
(vocals, konakkol), T. Shashikumar (kanjira), Ramesh Shotham (percussion)

Album: Nassim (1998, Off The Wall LC 2887)
Personnel: Charlie Mariano (sax), Paul Shigihara (guitar), Chaouki Smahi (oud),
Dave King (bass), Hubert Nuss (piano), Jahia Smahi (darabouka, percussion)

Album: Bangalore (1998, Intuition Records LC 8399)
Personnel: Charlie Mariano (sax), R.A. Ramamani (vocals), T.A.S Mani
(mrindangam), Louis Banks (keys), K. Raghavendra (Veena), Dave King (bass),
Jacob William (bass), Amit Heri (guitar)

Or click here to find more;
http://www.artistdirect.com/store/artist/album/full/0,,463310,00.html

Happy birthday brother Scorpio- and keep on.
 

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Saw Charlie Mariano in Rotterdam this year with a dutch rythem section.

Absolutely brilliant, especially considering his age.

As Tim said: so much passion in his playing
 

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52ed...Cool guy isn't he? Was he with Jasper Vant Hoff?
I'm telling ya....Theres some "modern" rhythm sections in Holland.
I heard this guy in Amsterdamn when I was there for North Sea,,
and he had the real modern w/roots element in his bass playing.

Mariano is something else. One day he plays all orignals...next day he plays ragas and next day he plays with an Oud player doing stuff in 13/8.
If he lived here in the States he'd be not doing as much or as busy.

52ed..thanks. :D
 

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Tim,

He was with the Low Motion Trio (Wiro Mahieu-Bass and leader, Jeroen van Vliet-Piano and Piet Bast-Drums) He recorded an album with them three or four years ago.

Mariano sure is something else. I was so amazed at how much fun he seemed to be having. I mean, he must be climbing on and of bandstands for some 50 or 60 years now? Still looks like he's having a ball :D .

Strange that such an great musician has to move to europe (Germany I believe) to get some respect.

We do have some fine musicians here ranging from boppers Rein de Graaf and Cees Slinger to completely modern and free players (Mengelberg and Van't Hoff)

Small scene in Holland but quite healthy I think.

How about a a concert with you and Charlie? Like Teacher and pupil? Any chance?
 

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52nd Street said:
Tim,He was with the Low Motion Trio (Wiro Mahieu-Bass and leader, Jeroen van Vliet-Piano and Piet Bast-Drums) He recorded an album with them three or four years ago.
How about a a concert with you and Charlie? Like Teacher and pupil? Any chance?
52ed....I jammed with Cees Slinger on a Dutch radio show I did with the Dutch "Prime Minister" ...with my friend Hans Dulfer. It was fun.To say
the least. Ya know who I mean he's like the Dutch Bill Clinton. :lol:
The cool part was...the guy owned ALL my sax books and was really
interesting. FEW....politicians in this country are into the arts...let along actually KNOW the art form.

Yea- Mariano would of ended up at Berklee teaching forever if he didn't
split for Europe in 1972 or so. Maybe 71'. See...in jazz in the USA the pool of " Who Gets Gigs" is small. The same guys do pretty much everything. WHY??? Because its commerce based on the bottom line.
Not art. But...Marianos importance is a case in point of an American
in Europe. He's a STAR and major artist. THAT IS COOL. 8)

Play with Charlie?? Sure? That'd be a joy.
Ya know...back in early 80s Bruce Lundvall @ BlueNote records wanted to record me and I suggested Mariano as a featured guest. Bruce seemed
to like the idea but thought it wouldn't be a big plus.."""sales wise""".
Business #[email protected] ughhhhhh- :?

BUT- E mail me...I got some ideas. I have a few friends in Amsterdam
and Charlie wanted to hear me at North Sea but was giggin' hahaha-Nuthin like a 70plus year old with a full schedule and a young band. :wink: Charlie is so cool.

Get me thru- [email protected]
 

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Tim - I've seen Charlie quite a few times here, both in quartets and with the United Jazz & Rock Ensemble. (Do you know Barbara Thompson? She also played with them and she's not too shabby, indeed!) I second everything that's been said above. He's awesome and inspirational.

Actually, I wouldn't know how undervalued he might be on that side of the pond because my perspective is more from here, but he's very respected and known here. I think the fact that he's come to this city regularly says something for his reputation. (Maybe something about European culture in general. This town is about the size as Macon, Georgia. When was the last time *any* jazz stars were in Macon, much less in numbers and on a regular basis. Too bad for an originally American art form)

Yes, indeed, Charlie is a intenational treasure.

His ballad album of a year ago or so is just wonderful. The way he can be following an idea on this album and just take a logical, but so unexpected, turn of a note or phrase, is breathtaking.

I was made aware of Charlie when I was working in Japan in the 60's. A close friend of mine was a Berklee alumnis and turned me on to him. Also, Toshiko was his wife at the time, and that might've given him a bit more notariety in Japan. My teacher, Sadao Watanabe, was also familiar with him, so I've been folowing him a long time.

I wish he'd give a seminar on lifestyle. I don't know the man, but I can't believe that spirituality, right diet and thought, etc. don't play a role and I think it would be inspirational to hear him out on that alone.

Also-if you ~do~ work something out with him please keep us informed. I would be willing to take a trip to the Netherlands or wherever to hear it and to meet you.

Regards, Gary.
 

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Discussion Starter #7
gary said:
Tim - I've seen Charlie quite a few times here, both in quartets and with the United Jazz & Rock Ensemble. (Do you know Barbara Thompson? My teacher, Sadao Watanabe, was also familiar with him, so I've been folowing him a long time.
I wish he'd give a seminar on lifestyle. I don't know the man, but I can't believe that spirituality, right diet and thought, etc. don't play a role and I think it would be inspirational to hear him out on that alone.
Also-if you ~do~ work something out with him please keep us informed. I would be willing to take a trip to the Netherlands or wherever to hear it and to meet you.Regards, Gary.
Gary- yes I know Barbaras playing....and that band. Pretty interesting music with some fantastic charts.
I dig Sadaos playing a lot...he is Charlie-esque in a way.
I think Charlie is a free spirit kina cat.He lived in Maylasia for a couple of years then before that Japan...then moved back to the states and taught at Berklee and split when he turned 50 for Europe to play w/ Stu Martin, replacing John Surman in " The Trio".
I think Mariano is a very serious guy with his life...and does not have the baggage that many of his generation have. I think living & having ~interests~in the expansion of his music thru worldly exposure and life has added years to his life. Plus-His wife is younger than me. And a cool lady.Charlie really IS a 75 year old somebody IN a 50 year olds body. lol.
I remember he kinda was amused at how Mingus acted as a person and
even tho he liked the music...that was not his final destination in life.
See...Charlie IS like a free spirit. He told me recently how he lost interest in going to the Kenton reunions to play music and how he was more interested in - THE NOW.
In the 70s...the band he had w/ Phillip & Jasper Vant Hoff was on a level with Weather Report OR anything else of that era.Charlie could of never got that exposure in the States. At THAT time period.
I just spoke to Charlie yesterday...hes always stayed in touch with me and once in Philly in 70s when he played with Eberhard Weber..his first question was " Are you still playing your Nagaswaram ??" After a long period of hugs and laughter -I told him , of course. :lol:
Charlies way of playing lead alto in a section is also totally for me.
Its out of Hodges but not a carbon cop. His expression and feel is
amazing in a section. Plus he's so LOOSE.
I'll put you on my E mail list Gary- just E mail me info.In case I come over -which at some point I intend to.
At one point Charlie had a bassoon, and when I went to go to see him in Jersey to do a Sax Journal interview on him....he told me we'll get to that AFTER you show me some stuff about this instrument. So Charlies wife made fresh squeezed orange juice and I got out my bassoon &
showed him fingerings etc.Plus made him some cosmic reeds :mrgreen:
Charlie had a raga-rock/jazz band in Boston called "Osmossis"...
they recorded for RCA. Even played the Village Vanguard in 1970.
2 drummers, singer ...the works. What a band!!$#^[email protected]^@#&
They opened for Zappa in Boston at the club the Boston " Tea Party".
Gary...you shoulda seen Zappas face.He stood in the wings of the stage diggin it and beaming with joy. ( funny cuz the year before Roland Kirk walked out on stage with Zappa and jammed....but more on that another time :wink: )
We also used to improvise sax quartets with Charlie...Joe Viola got involved one day and I remember Charlie turning the lights off and saying " Ok, lets go somewhere"...Viola played soprano, CM alto and I think at that point I was never the same. lol- What an experience.
Another time we had a ensemble with charlie. A small band in Berklee.
He turned the lights off and told us to play to the guitarists blue light on his amp.Sometimes David S. Ware was in those classes and he loved Charlie to. ( btw-Ware used to shed " The Universal Book at Berklee in a practice room-it was like a vision' -he just ripped on it and made it HIS..but more on that later )
BUT-Charlie was no missionary position teacher. He demanded creativity.
Plus he'd be on your tail if you didn't know basics.Then he played a metal 10 star link on alto...with 21/2 brown box ricos. His sound went right into my system in those classes. The 1st time I ever played " Litha" by Chick was in those ensembles and you HAD to follow Charlies solos!!!!He'd blow for 10 minutes and WAIL...and you were next. LOL-
We'd sit on the floor in his office and play Nagaswarams....then after a hour or so of playing...teacher -pupil..Indian style...he'd go to the piano
and we'd play a tune. And-he'd play every line I played on piano and tell me what was wrong with it.Like a jazz X-ray. If it was really no good he'd look at ya and laugh and start writing out stuff to help ya.At that point I was his only private student cuz he only wanted cats who would practice.
He wasn't an easy teacher at all.Thru him & McGhee I learned as a 17 year old kid. (and there were no excuses...they played hardball)
But-on the flip side..that was 1969 and early 70s!!!!
And- Mariano stayed in touch with me all these years.That sais something. ( ditto McGhee and the guys like Viola & LaPorta...still close with me ) I thought I went to Berklee then & would just learn something
about saxophone from Mariano...damn...was I surprized!! :shock:
Anyhow....
I'm gonna listen to some Charlie w/ Elvin now. ( "Dear John C" on Impluse records)
 

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By the way- Gary and 52ed..
I gotta get to Europe to hear Fabrizio Cassoli (from Aka Moon) perform on his Aulochrome !! Francois Louis ~ is telling me all these cool things about the music.
It sounds like some _new_ground is being broken. COOL!
I don't know if you know of Fabrizio or not. I bet you do. But my man Francois is never wrong about sound and creativity.
I gotta get an Aulochrome and hang/study with Fabrizio.
SEE,, Matter of fact...there is my vision. THAT...band AkA Moon..with some "other" additions. Mariano, myself maybe Phillip Catherine whos a dear friend on guitar. It could be interesting.I keep tryin'..thats all you can do. TRY...and keep the vision of music.
BUT,,I might just go and spend some time "playing" with some Euro musicians soon as to add some dimension to my music. Theres always something to do. PLUS-Then I could go hang in Belgium w/ Francois and he could FINALLY make me the metal single reed mouthpiece hes been taunting me with for bassoon. ( it takes an Eb clarinet reed )
The bassoonist with Pierre Boulez has one and sounds out of this world.
I see that ensemble always when Boulez comes to NYC.
We'll see...but I thought I'd add that as Fabrizio is a guy who kinda reminds me of Mariano a bit.He's a traveler of sonic sounds.
 

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charlie's playing on the old boston lps are still a learning experience. the eberhard weber ecm albums are pure joy. charlie with mingus,"mingus mingus mingus mingus mingus" will always drill a big hole from my heart to my head!!!!! genius
 

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by the way tim, george braithwaite is alive and kickin' in staten island and playin jam sessions in harlem. there is even a nice write up on him now in downbeat. so why go to europe too hear the aulochrome when the real deal is around. one of your strich influences,right?
 

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dolphyo'...I know Braith. He is a great inspiration. The Braithaphone is a way different animal than the Aulochrome. IMHO.
If you look in the new JazzTimes there is a nice article on Braith and it explains his genius on the two horn thing. Plus more of course :wink:
The Aulochrome is two soprano saxes to low A. Using 2 soprano mouthpieces. Plus-the moldings/connection points are different.
I need to go hang with George soon at the "Braithaphone Institute"..and talk. I want to use him on a gig or two of mine at some point. George also has some vivid TENOR playing going on.
FWIW-remember Breckers old band DREAMS?
They used to rehearse at Braiths old loft in the 70s. Everyone knows George. And loves him. Sadly the biz part is so stuffy for him.I dunno.
This double horn thing from _these_perspectives always interested me.
I feel on these type saxes...double horns...THE MORE, THE MERRIER 8)

There's only one of each of these anyhow. I think the """cost""" is a big issue on both counts.
Who knows..I'm just glad I'm lucky enuf to know of both.

BTW-Dolophyo'...if your near CapeMay in April. Please stop by the Festival. Ok? I'm at Carneys with a organ band. It'd be nice to say hi and rap. As many times I see you n' me are comin from the same roots.
In any case...be well and all that jazz. :)
 

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Hi guys,

Ever listened to 'Double your pleasure' by George Braith? That's one hell of an album.

Specially Braith's own tune 'Leslie' is a killer.

Why does'nt this guy get recorded more often?? Like every year for example!

Tim, could you get into a little more detail bout the autochrome and the braithorn?

I saw Fabrizio at the north sea jazz last summer (playing with Joe Lovano!) and I was quite amazed.

I could see the auto is more or less based on two soprano's welded together. I haven't seen any really good pictures of George's horen, but it looks bigger. Like based on two straight alto's or something. Obviously the braithhorn has only one bell (and one mpc?)

c u
 

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Discussion Starter #15
52nd Street said:
Hi guys,Ever listened to 'Double your pleasure' by George Braith? That's one hell of an album.
Specially Braith's own tune 'Leslie' is a killer.
Why does'nt this guy get recorded more often?? Like every year for example!Tim, could you get into a little more detail bout the autochrome and the braithorn?c u
52ed..I'll tell you a bit of what I know.
The Braithaphone is an Alto & Soprano with a common bell.
The AuloChrome is two sopranos to Low A.

I think, as does my stritch/straight tenor buddy Mike Marcus that its so costly to manufacture these double saxes that it doesn't have enough interest. Time is money etc etc. IF,,I was rich I'd fund it. But that ain't the case. LOL-
Jazz needs a outside source to fund these projects..I've been saying that on these forums for years.Its really hard.
Case in point...Marcus & I both have straight tenors..the ~interest~ just is lacking on the more unique horns. Matter of fact..those straight tenors are something Braith has had interest in as well..but I think his plate is full carryin the Braithaphone around. That sax is a heavy one :!:
I have ALL the Braith stuff you mentioned and am a Braith fan.
Ditto Fabrio. Via- Aka Moon.
Braith should get recorded more often but...what should happen and what does,,,well,,, you know what I mean :roll: < business>
Hope this helps.Thanks.
 

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i use to see braithwaite with that two horned monster when he had a semi steady street gig. it was in front of nybell tel corp office at 42nd & 6th ave. just around the corner from bryant park(needle park) behind the ny public library. just blowing for change man and oblivious to traffic and BS. i always paid him and many other guys scufflin'. use to see early steve coleman in the streets,kalaparusha maurice Mcintiyre, charles gayle,byard lancaster,etc..et... the struggle continues. even remember a prodigy from brooklyn named arthur rhames who played tenor sax,electric guitar,and piano. now he was a total mad genius whose only language was music 24-7. use too play like trane in all the styles he played. briefly played with elvin jones and especially reggie workman group topshelf. died of aids.
 

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In an ideal world Braith would still be recording for Blue Note. Well, keep dreaming.

Any idea who build the Braithaphone? I suppose a one off like that must have cost a small fortune!

You are right about the construction differences The Braithhorn looks much wider than the aulochrome.

Well, thanks for the info
 

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hey tim, fwiw yeah i remember dreams. the weird jazz rock big band. barry rogers the excellant jazz and latin trombonist and pedagoge was a neighbor of mine in the bronx. walton ave by 161st. also jerry gonzalez old address(fort apache). barry rogers new anything about everything. brecker in old interviews says barry was his ultimate mentor etc......
 

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Tim,

I just got Charlie's Deep in a Dream CD and absolutely LOVE IT. Charlie sounds so good. With some of his recordings in recent years it sounded to me like the rhythm section wasn't up to his level. Did you have that feeling too? But, the guys with Charlie on Deep in a Dream are excellent. Everything feels tight and at a level that Charlie deserves.

Does Charlie's tone sound a bit darker and thicker (for want of a better description) to your ears? For me, Charlie's sound is THE alto sound. When I think of the alto it's Charlie's sound that I hear in my mind.
 

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Roger Aldridge said:
Tim,

I just got Charlie's Deep in a Dream CD and absolutely LOVE IT. Charlie sounds so good. With some of his recordings in recent years it sounded to me like the rhythm section wasn't up to his level. Did you have that feeling too? But, the guys with Charlie on Deep in a Dream are excellent. Everything feels tight and at a level that Charlie deserves.

Does Charlie's tone sound a bit darker and thicker (for want of a better description) to your ears? For me, Charlie's sound is THE alto sound. When I think of the alto it's Charlie's sound that I hear in my mind.


That is one of the best CDs I heard Charlie ever do...in recent years.
Of course..we all love standards. But Charlie puts an inside twist
on them. Always did.
The sound. It's a modern sound, with personality.
Nobody....sounds like Mariano. Soulful and very modern.
For a guy almost 80...Charlie is the innovator of all.
In 2004 Mariano is still playing from the heart...and on the cutting edge.
He's my favorite musician & biggest inspiration
 
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