3.12.06
Noah Howard (sax alto)
Arthur Doyle (sax tenor)
Earl Cross (trompete)
Leslie Waldron (piano)
Norris Jones (contrabaixo)
Mohammed Ali (bateria)
Juma (congas)
(Freedom, 1969)
Earl Cross (trompete)
Leslie Waldron (piano)
Norris Jones (contrabaixo)
Mohammed Ali (bateria)
Juma (congas)
(Freedom, 1969)
You gave Arthur Doyle his start on Black Ark; where did you find him?
The reason I pulled Arthur Doyle in was that Doyle was going in the direction
of Frank, of Pharoah, of Trane, and he was a young guy. To me, I said, well, fuck it, I'll put him inside my compositions and just let him express himself and do his thing. And there came Black Ark. People are dying to get Black Ark. [The Japanese reissue] was the last issuance. It's a monster, monster album. He was one of these little kids, you know? He was a generation after us, and he was hanging out all the time. He had come up from - I think he was from North Carolina or somewhere - and he was following the music. He was committed to going into it, so he was hanging around all the time. The first time I heard him, I said 'This is the extension of Pharoah.' He was doing all that harmonic stuff, you know, and he wasn't compromising, he just said 'Fuck it, I'm going out, and we'll see whether they like it or not.' And he got over. He's doing well in Europe, he's in Paris. -- Noah Howard em entrevista a The Wire # 263, Janeiro de 2006
posted by eduardo chagas
@ 3.12.06 The reason I pulled Arthur Doyle in was that Doyle was going in the direction
of Frank, of Pharoah, of Trane, and he was a young guy. To me, I said, well, fuck it, I'll put him inside my compositions and just let him express himself and do his thing. And there came Black Ark. People are dying to get Black Ark. [The Japanese reissue] was the last issuance. It's a monster, monster album. He was one of these little kids, you know? He was a generation after us, and he was hanging out all the time. He had come up from - I think he was from North Carolina or somewhere - and he was following the music. He was committed to going into it, so he was hanging around all the time. The first time I heard him, I said 'This is the extension of Pharoah.' He was doing all that harmonic stuff, you know, and he wasn't compromising, he just said 'Fuck it, I'm going out, and we'll see whether they like it or not.' And he got over. He's doing well in Europe, he's in Paris. -- Noah Howard em entrevista a The Wire # 263, Janeiro de 2006
