Marc Myers writes.<\/p>\n
Wonderful post on George Russell<\/a>. Hal McKusick told me a great story re: where he found Russell in the mid-1950s and how he brought him back onto the scene.
\n“Not long afterward I walked into a drugstore in Greenwich Village. There, behind the counter working was George Russell. I asked him what he was doing there. George had written ‘Cubano Be Cubano Bop’ for Dizzy [Gillespie], which was one of the first combinations of Afro-Cuban rhythms and jazz in 1947. He also had written ‘Ezz-Thetic’ in 1951 for Lee [Konitz]. Both arrangements were huge.
\n“George told me he had a wife to support and that nothing was happening for him in the music business. Then he said he had hit upon something called the Lydian Theory. He asked if I wanted to hear it. I agreed, so I met him at his apartment nearby the next day.”
\nTo read the rest of the story, go to Jazz Wax<\/em><\/a>.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"Marc Myers writes. Wonderful post on George Russell. Hal McKusick told me a great story re: where he found Russell in the mid-1950s and how he brought him back onto the scene. “Not long afterward I walked into a drugstore in Greenwich Village. There, behind the counter working was George Russell. I asked him what […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1235","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1235","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1235"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1235\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}