{"id":1868,"date":"2009-11-08T12:15:13","date_gmt":"2009-11-08T20:15:13","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1868"},"modified":"2009-11-08T12:15:13","modified_gmt":"2009-11-08T20:15:13","slug":"weekend_extra_too_much","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2009\/11\/weekend_extra_too_much\/","title":{"rendered":"Weekend Extra: Too Much"},"content":{"rendered":"<p>Bill Crow&#8217;s column, The Band Room, has for decades been a feature of <em>Allegro<\/em>, the monthly publication of New York&#8217;s Local 802 of the American<a href=\"http:\/\/www.artsjournal.com\/rifftides\/Bill%20Crow%20current.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"Bill Crow current.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/assets_c\/2009\/11\/Bill Crow current-thumb-85x127-11280.jpg\" width=\"85\" height=\"127\" class=\"mt-image-right\" style=\"float: right; margin: 0 0 20px 20px;\" \/><\/a> Federation of Musicians. He fills it with what he is most famous for after his bass playing, anecdotes about musicians. Sometimes the stories concern well-known performers, sometimes less celebrated journeymen. It took me a couple of minutes to recover from the one that follows.<\/p>\n<div>&nbsp;&nbsp;&nbsp;<\/p>\n<blockquote><p>Richard Chamberlain tells me that, at a New York City Ballet rehearsal some years ago, Lester Cantor, who frequently subbed there in the bassoon section, was playing baritone sax on a set of Charles Ives pieces. The conductor, Hugo Fiorato, stopped at one point and said, &#8220;Bari sax&#8230; too much!&#8221; Lester immediately replied, &#8220;Thanks, man!&#8221; Richard says the orchestra was unable to play for several minutes. It wasn&#8217;t until intermission that Fiorato figured out what was so funny, when one of the hipper violinists explained the joke to him.<\/p><\/blockquote>\n<p>To read all of Bill&#8217;s November column, <a href=\"http:\/\/www.local802afm.org\/frames\/fs_article.cfm?xEntry=326360\" target=\"_blank\">go here<\/a>. You can find his books of jazz anecdotes <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&amp;location=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2F0195187954%3Fpf_rd%5Fp%3D486539851%26pf%5Frd%5Fs%3Dlpo-top-stripe-1%26pf%5Frd%5Ft%3D201%26pf%5Frd%5Fi%3D0195071336%26pf%5Frd%5Fm%3DATVPDKIKX0DER%26pf%5Frd%5Fr%3D044CJWM7ASJ82DGJWEMC&amp;tag=rifftidougram-20&amp;linkCode=ur2&amp;camp=1789&amp;creative=9325\"target=\"_blank\">here<\/a> and <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&amp;location=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2F0195085507%3Fpf_rd%5Fp%3D486539851%26pf%5Frd%5Fs%3Dlpo-top-stripe-1%26pf%5Frd%5Ft%3D201%26pf%5Frd%5Fi%3D0195071336%26pf%5Frd%5Fm%3DATVPDKIKX0DER%26pf%5Frd%5Fr%3D1KJGTM029EV4NVGNJD1P&amp;tag=rifftidougram-20&amp;linkCode=ur2&amp;camp=1789&amp;creative=9325\" target=\"_blank\">here<\/a>. <\/div>\n","protected":false},"excerpt":{"rendered":"<p>Bill Crow&#8217;s column, The Band Room, has for decades been a feature of Allegro, the monthly publication of New York&#8217;s Local 802 of the American Federation of Musicians. He fills it with what he is most famous for after his bass playing, anecdotes about musicians. Sometimes the stories concern well-known performers, sometimes less celebrated journeymen. [&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-1868","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\/1868","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=1868"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1868\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1868"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1868"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1868"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}