{"id":1452,"date":"2008-09-12T17:12:33","date_gmt":"2008-09-13T00:12:33","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1452"},"modified":"2008-09-12T17:12:33","modified_gmt":"2008-09-13T00:12:33","slug":"other_places_benny_golson_at_l","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/09\/other_places_benny_golson_at_l\/","title":{"rendered":"Other Places: Benny Golson At Length"},"content":{"rendered":"<p>\n<span class=\"mt-enclosure mt-enclosure-image\" style=\"DISPLAY: inline\"><img loading=\"lazy\" decoding=\"async\" class=\"mt-image-left\" style=\"FLOAT: left; MARGIN: 0px 20px 20px 0px\" height=\"128\" alt=\"Golson.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/Golson.jpg\" width=\"127\" \/><\/span>On <em>Jazz Wax<\/em>, Marc Myers&#8217;s marathon interview with tenor saxophonist, arranger and composer Benny Golson (pictured) started running on September 8 and winds up today. If you are put off by transcribed verbatim interviews, never fear. Myers edits with care, provides appropriate web links and illustrates his pieces lavishly, sometimes to a fault (Golson says &#8212; tongue in cheek, I hope&#8211; &#8220;As the future crouches beneath my window waiting unashamedly to reveal itself&#8230;&#8221; and Myers shows you a dreamscape of a sky &#8212; tongue in cheek, I hope). <\/p>\n<p>Golson on how Art Blakey let him know he wasn&#8217;t playing forcefully enough: <\/p>\n<blockquote dir=\"ltr\" style=\"MARGIN-RIGHT: 0px\">\n<p>One night, instead of playing a press roll for two bars before we came into the new chorus, he started that press roll eight bars early. He was so loud I thought he had lost his senses. When he came down for the new chorus, every two or three beats he&#8217;d hit a loud crash. I said to myself, &#8220;What is wrong with this guy?&#8221; I still didn&#8217;t get it. Finally, he hollered over at me, &#8220;Get up out of that hole!&#8221; I said to myself, &#8220;Man, I guess I am in a hole. Nobody can hear me.&#8221; So I started playing harder and with more bite.<\/p>\n<\/blockquote>\n<p>To read the five-part interview, <a href=\"http:\/\/www.jazzwax.com.\/\" target=\"_blank\">go here<\/a>, then scroll down to part 1 and work your way back up. <\/p>\n<p>But first, you may wish to refamiliarize yourself with Golson&#8217;s work. Here, he leads a band with Curtis Fuller, trombone; Teramasu Hino, trumpet; Mulgrew Miller, piano; Ron Carter, bass; and Billy Higgins, drums. The piece is one of Golson&#8217;s most famous, &#8220;Blues After Dark.&#8221;<\/p>\n<p align=\"center\"><embed src=\"http:\/\/www.youtube.com\/v\/Kcdqa2nPasU&amp;hl=en&amp;fs=1&amp;rel=0\" width=\"425\" height=\"344\" type=\"application\/x-shockwave-flash\" allowfullscreen=\"true\"><\/p>\n<p><\/embed><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On Jazz Wax, Marc Myers&#8217;s marathon interview with tenor saxophonist, arranger and composer Benny Golson (pictured) started running on September 8 and winds up today. If you are put off by transcribed verbatim interviews, never fear. Myers edits with care, provides appropriate web links and illustrates his pieces lavishly, sometimes to a fault (Golson says [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","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-1452","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\/1452","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=1452"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1452\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1452"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1452"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1452"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}