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Discombobulated SOTW Member, Forum Contributor 201
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I think I saw this album over the years in the record bins, but never heard it. I just stumbled on it again through the back door - I looked up the oudist George Mgrdichian's obit, it mentioned he played with Phil, and it looks like this is the occasion. Just getting into it, but it's "interesting" in both good and bad ways. Phil's plays great so that alone makes it worth a listen.

Does anyone know any background on this album? Was Phil possibly of Greek heritage?

If you have a chance to give it a listen, I'd be interested to hear thoughts. Some of it reminds me a little bit of a Greek version of Joe Harriott's Indo-Jazz fusions.



 

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I remember getting this album in the early 1980s and thinking at the time that it was my least favorite of anything I’ve heard of his. I haven’t heard a single cut in over 35 years, so I’ll go listen to it again and see if I get a different reaction now.

I’m glad you posted this as I think it will be interesting to revisit.
 

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I'm married to a woman who is very proud of her Greek heritage. With my fondness for Phil Woods, I was excited to play this for her. I think she digs it more than me. :/

For the first time ever (for me), Phil seems to struggle for something meaningful to say. Lots of repetitive motifs on every tune which, I understand, is partially stylistic, but certainly not the extended bebop phrasing I love about his playing. A head-scratcher, but interesting nonetheless. Thanks for sharing.
 

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I'm married to a woman who is very proud of her Greek heritage.
Alithea ? Malista, Malista ! I bet your home life is never boring.

LOL, I sorta like this album, never had heard it. It's a bit silly, granted, but an interesting hybridization. Greek music is at its best when it is using its traditional, non-western meters. For me, those are the most interesting cuts on the album, you can hear Phil really workin' it there.
 

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I agree and if Phil was more open to modal playing, say in the way Henderson approached playing his tune 'El Barrio' on Inner Urge the results may have been better, Joe admits to being influenced by Greek music in the liner notes. Does Woods play any clarinet on this recording? Traditionally clarinet is 'the thing' in Greek liaeko music and Phil was a great clarinetist, too.


I'm married to a woman who is very proud of her Greek heritage. With my fondness for Phil Woods, I was excited to play this for her. I think she digs it more than me. :/

For the first time ever (for me), Phil seems to struggle for something meaningful to say. Lots of repetitive motifs on every tune which, I understand, is partially stylistic, but certainly not the extended bebop phrasing I love about his playing. A head-scratcher, but interesting nonetheless. Thanks for sharing.
 

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I got to have a casual conversation with Pete Christlieb a few months ago and he was talking about how Phil Woods crashed in his garage for a little while many years ago. I can tell more details via PM if anyone is interested, but it basically sounded like Phil was a madman!
 

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Discombobulated SOTW Member, Forum Contributor 201
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Discussion Starter #9
I got to have a casual conversation with Pete Christlieb a few months ago and he was talking about how Phil Woods crashed in his garage for a little while many years ago. I can tell more details via PM if anyone is interested, but it basically sounded like Phil was a madman!
I wonder if that was during Phil's brief L.A. sojourn in the 1970s. He recorded a wild fusiony album with his sax hooked up to a wah-wah pedal and the liner notes by Phil discuss, in Phil's hilariously cynical writing style, the band's futility in obtaining any meaningful work. The album is called "New Music by the New Phil Woods Quartet" on Testament: https://www.discogs.com/Phil-Woods-Quartet-New-Music-By-The-New-Phil-Woods-Quartet/release/3447439
 

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At first, brief glance, I thought this thread was about Phil Barone’s Greek cooking.
 
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