What guys are using this concept in his music?

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

What guys are using this concept in his music?

Postby Fer Carranza » Wed Jan 31, 2007 11:01 am

Well, the text says everything. Do you know what musicians keep using this concept in his art? (separately of the mentioned in the book, off course, I think in musicians of our time). This is very interesting to hear them and see in the manner they take the LCCOTO. Thanks,
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Postby sandywilliams » Sun Feb 04, 2007 5:12 pm

There are many important musicians who had direct contact with George Russell, like Miles Davis, Steve Swallow, Eric Dophy, Bill Evans, and Denny Zeitlin. This list could certainly be expanded greatly. There are others, such as Pat Metheny, who have acknowledged studying the Concept in their formative years.
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Postby bobappleton » Mon Feb 05, 2007 10:51 am

Expanding on the list of musicians who use the Concept today, you'd have to include all of George Russell's bands. Here's the personnel of the Living Time Orchestra from "The 80th Birthday Concert" in 2003: Stuart Brooks, Stanton Davis, Palle Mikkelborg: trumpet; Dave Bargeron: trombone; Richard Henry: bass trombone; Andy Sheppard: tenor saxophone; Chris Biscoe: alto saxophone; Pete Hurt: baritone/bass clarinet: Hiro Honshuku: flute/electronics; Brad Hatfield, Steve Lodder: keyboards; Bill Urmson: Fender bass; Mike Walker: guitar; Richie Morales: drums: Pat Hollenbeck: percussion. Then you'd add Billy Ward: drums and Tiger Okoshi: trumpet from the GR website. Then the personnel in all the other bands Mr Russell has led since the 1950's and those who have played his comositions, which would also include Dizzy Gillespie, Max Roach, Teddy Charles, Gil Evans, Charlie Ventura, Artie Shaw, JJ Johnson, Gerry Mulligan, Eric Dolphy, John Coltrane, David Baker, Jimmy Giuffre, Bob Brookmeyer, Milt Hinton, Ian Carr, Carla Bley, Don Ellis, Art Farmer, Buddy de Franco, Lee Konitz, Barry Galbraith, Hal McCusick, and Michael Jackson on "Wanna be Startin Somethin"

This list still just skims the surface. I'm sure others could add more – like all his former students from the New England Conservatory of Music, etc, etc.

Bob
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Postby sandywilliams » Mon Feb 05, 2007 4:43 pm

It would be interesting to know who studied the Concept formally with George Russell. I know David Baker and Art Farmer would fit into this list. Based on a 1976 interview in Guitar Player magazine, I’m sure Barry Galbraith studied the book and certainly had access to Mr. Russell.
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Postby Andrew » Mon Feb 05, 2007 8:02 pm

Well' I'm sure influenced by it, if you count me as a musician!
"Life finds a way"- Wayne Shorter
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Postby sandywilliams » Wed Feb 07, 2007 6:51 am

In the new Downbeat there is an article about the great pianist, Steve Kuhn, that mentions that he studied with George Russell.
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Postby bobappleton » Wed Feb 07, 2007 7:06 pm

Another "great pianist" who was influenced by the Concept is Gil Goldstein. See the interview with George Russell in his "Jazz Composers Companion".
Also see this interview with David Baker about the seminal Lenox School of Jazz: http://www.iaje.org/article.asp?ArticleID=106

Bob
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