What's wrong with you? Really what is wrong with you? You been on this forum since February 2, 2004 you know of Rory Hoffman for ???????????? years and you just mention him yesterday? My brain has trouble processing that. Rory's been around music since 4 years old, his whole family, uncles and such play music, he plays jazz piano around a famous Jazz club in Nashville, he plays Sax and Clarinet with a swing band, he plays accordion, harmonica and banjo and he plays all of them exceptionally well. All this and he's only 34 or 35 years old. I'm peeved because I won't be around to hear him when he's 70! Can ya just imagine? I assume that it might be possible that's he's at his peek today! Can he really get any better on the funky knuckle guitar playing. I think he plays every scale and possible variation of scales that exist in many different rhythms with all the necessary technique etc. Do you really know him? Have you spent time playing with him? If so, I may sell everything I own, move to Kentucky and follow you around and just take my sax out and play with you. Who else do you know of that you haven 't told us about I wonder. I guess you can tell that I love Rory. It's long but I just fast forward through some of the salesman stuff.
https://www.youtube.com/watch?v=3duh2RXHXLM

Actually, Boo, I've been around here for 4-5 more years than the record shows. There was a major "shut down" in 2004, and some of the records were lost and re-started.

Rory and I have been friends for about 15 years. He was a member here, contemplating a move to Nashville. I gave him a hard time about playing country music. Then, he sent me a version of the Hank Williams song, "Old, Lonesome Me" played as a Bossa. That shut me up pretty fast.

I met him at one or two Summer NAMMs. We hung out a couple of days and went to dinner. The first day on the floor, he sat down at the Hammond booth and played a bit. I looked over and Tony Monaco was shaking his head in approval.

At the first NAMM, Rory wanted to stay (I had to get back to Lexigton for a GIG), so I gave him my badge and my son's badge for him and a friend. For months, all over YouYube, there was footage of blind guitar blind Logan Lay (my son) at various booths "tearing it up". People just read the name off the badge he was wearing.

When he comes to Lexington, he always calls me and we go to dinner. He's been to the warehouse and played lots of my "toys". In fact, he says he regularly uses an old Gretsch tenor banjo and a nice Alvarez nylon string I gave him. He sends me a notice of good press and accomplishments. We briefly played a tune or two, but only at my warehouse. We both use a Godin jazz guitar as our primary instruments...I even think they're the same color (doesn't matter to him).
He posts here occasionally, and I generally relay his good career news as well. Good friend and great player.

As far as others, I was lucky to have played in a house band as a teenager, at Brocks in Lexington, where the club gave a place to stay and a gig to groups traveling from a Saturday Gig in Chicago to a Friday Atlanta Gig. I threw a band together of whomever was sober enough and played (part house band-part traveling band) what I needed to to fill the holes (B-3, piano, guitar, bass..even some mandolin and harmonica). These included Jerry Lee Lewis, BJ Thomas, The McCoys and lots of others.

In California, I was lucky to meet both Louie Belson and his silly wife, "Pearly Mae" . Thru that contact, I was fortunate enough to meet and work with most of the people on the syndicated Steve Allen Show and the jazz giants who performed at Shelly's Manhole, around the corner from the station in LA. My mentor was Ray Brown, who had just divorced Ella. She was a kind spirit, who worked with me on structure and passing chords on piano.

My old buddy Herb Ellis was a different story. He and Ray were in the Steve Allen house band. Visiting acts could not use "tracks" carried in, but, for some reason, it was OK to use tracks recorded prior to the show. I went to LA (Channel 5-Jefferson and Figueroa) every Sunday to do these little 4 track things. One day, I was practicing and Herb came up to me
and said, "Hey kid, what are you doing"? "Practicing", I said, scared to death. "What the hell for?" was his response as he walked by. The house band consisted of world class jazzers, and they got little "scrubs" like me to play the tracks. The live stuff was awesome. Steve Allen was a prolific writer of tunes like "Gravy Walse" and many others. Lionel Hampton, Oscar Brown Jr. and similar players were regular guests.

Fast forward to about 4 years ago. The phone rings and a scratchy little voice says, "I'll bet you one damn thing....you probably haven't even learned to tune that piece of **** guitar yet".

"How are you Herb?" I replied. "Shut up and come to Louisville to buy me some damn dinner." That's the last time I saw him. Prior to that, I had played a few jobs for both Ray and Herb when they had medical issues and had work in this area...usually National Endowment for the Arts gigs, I think.

The Last time I saw Ray was also in Louisville. He,
Victor Wooten and a classical bass player named Edgar Meyers (this guy can out "jazz" lots of recognized hard liners...check him out) did an impromptu TV show...the long running Lonesome Pines Special, which was GREAT, by the way. When I got to Louisville, Ray was giving a promising young bassist a free lesson; something he did before every performance as long as his health allowed.

"Gentle" Ray was the most influential person in my musical life; mostly as an example of a kind, caring humanitarian. He carried a 4'x5" Calumet view camera with him most of his career and really knew how to use it. He would take me to see the best in the business, but warn me, "listen and learn, but don't be like them". Sadly, I was too young and stupid to realize that, every night, I was seeing Jazz royalty...the "Monk" crowd, I called them. He taught me to use the 4"x5"; something I do today for major photo work.

My current focus is involvement in the Les McCann School for the Arts. Les is from Lexington. I don't have to tell you, Boo, he's a GIANT in the BEBOP and Fusion world. I just finished listening to "With These Hands" and "Compared To What, with Eddie Harris on Tenor.

Les lives in LA and was recently granted a PhD in Music from the University of Kentucky. I met Les in the early 60's, but was a fan before that.

As a result of his visit to Lexington, the Les McCann School for the Arts was formed. Les, like lots of other jazz musicians, just published a book of photographs called Invitation to Openness, containing photographs of musicians and other recognizable people in the political, film and other creative areas. At 80, he has a full playing schedule and full time showings of his paintings in Arizona (I think).

I'm working on the 501(C) application for the school and will work in some capacity with the group. I'm looking forward to meeting and playing with Les on his next visit.

One lesson: For a week, I played behind Ike Cole when he came thru Lexington(early 70's). He was a B-3 player and singer, with every bit of the talent of his brother. The stars just didn't align right and he never reached the fame of Nat, but he really deserved it. LESSON: Sometimes, there is a bit of luck involved, in addition to hard work and talent.

Sorry for rambling on. I could fill 10 more pages of the people I have met and played with...some are/were giants in the music field who are not hardline "jazzers"...people like J.D. Crowe, Grammy winning bluegrass banjo player, who taught me a few things about the music business and structure.(Still can't STAND 5-string banjo).

Man, have I been lucky! If I never played another note, I will be forever thankful for the life in music I have had and the people I've shared the journey with.

Take care, Boo. I understand and agree with most of your posts. When you learn something complex and wonderful, you want to share it. I, too come off as a wize-ass, but I'm so consumed with music; particularly jazz, that I can't help but get on my high horse, sometimes in a sincere effort to want to share.

Sadly, I never made the commitment to only doing music, but rather used music to get drunk, laid and, later, leverage music into film production and other areas of communications creation.

In a way, I'll always regret not committing to music completely. But, I don't think I was/am that good. And I don't enjoy starvation.


Take care,


Russ

Ha ha here's me. I played with Dr John, Ernie Kado, Art Neville, Jerry Hall, Stark Whiteman, Barbara Lynn, Joey Long, Joe Barry, Ronnie Baron Joe Clay (CJ Cheramie) and a bunch of Rock and Rollers. It was later I learned Jazz Standards at a French Quarter gig with a guitar player who knew all of the tricky turn arounds for the bridge and chords of Moonlight in Vermont. Just learning that tune correctly will increase your knowledge of chord theory after analyzing it for a few months and "All The Things You Are, is tricky too. You need a Real Book for these tunes not a country guitar players post of chords for these tunes, unless it is Rory Hoffman Ha ha,. It's the best. Those internet sites post some awful chords to the intricate tunes really. $35 I spent for the last one and you can get off of one tune and change the page and work on other tunes. I highly recommend the Real Book. It ain't perfect but miles ahead of some of the published stuff on the net, with few exceptions. Russ pick up Chas and come out to Western Colorado for a vacation and just bring the instruments you guys need. I have a decent PA system, 15" Peavey speakers from DonM and a Mackie 8 channel 600 watt amp. I need at least a months notice as I haven't played in two years dealing with my Son Drew's suffering quite a while fighting Esophageal cancer. Thanks for all of the info friend.