Jon Hendricks Blindfold Test–Monica Zetterlund Blindfold Test [transcript]

00:00:00:00 - 00:00:11:22 Unknown Speaker: You.

00:00:11:25 - 00:00:30:25 Unknown Speaker: Know? Well, it sounds like Winona. And if it is that dorm anyway. Yeah. And, Oh, was that down on the, in a record session, or was it in a cafe somewhere else? Oh, I wouldn’t I wouldn’t say that it was mechanically wonderful, but otherwise it’s great.

00:00:30:27 - 00:00:32:00 Leonard Feather: If you like that kind of.

00:00:32:02 - 00:00:33:23 Unknown Speaker: Yeah, sure. I love that.

00:00:33:26 - 00:00:35:27 Leonard Feather: That’s that kind of a compliment.

00:00:35:29 - 00:00:45:03 Unknown Speaker: For that kind of thing. Yes, I like that. Yeah. I don’t know who’s doing the accounting in my life, I can’t tell. Yeah, but that is renowned, is it?

00:00:45:05 - 00:00:48:10 Leonard Feather: But yeah. Is it. I thought we were okay.

00:00:48:12 - 00:00:49:11 Unknown Speaker: Oh.

00:00:49:13 - 00:00:52:04 Leonard Feather: You didn’t raise. It’s supposed to raise it out. Of course. Oh.

00:00:52:07 - 00:00:52:29 Unknown Speaker: No.

00:00:53:01 - 00:00:57:16 Leonard Feather: Well, for starters, it’s, tops, you know, three is good. Two is better than one.

00:00:57:18 - 00:01:04:14 Unknown Speaker: Well, I like blows. I mean, how would you how would you how would you rate? You know, I don’t think the recording is good mechanically.

00:01:04:16 - 00:01:05:24 Leonard Feather: I’m. I think you’re probably good at three.

00:01:05:24 - 00:01:07:03 Unknown Speaker: Yeah. Oh, good.

00:01:07:06 - 00:01:08:10 Leonard Feather: Four stars for the absolute.

00:01:08:15 - 00:01:13:18 Unknown Speaker: Yeah, yeah. Okay. Oh.

00:01:13:21 - 00:01:17:26 Unknown Speaker: Oh.

00:01:17:28 - 00:01:52:10 Unknown Speaker: That’s very interesting. and 2 or 3 different ways I. I can’t quite make up my mind just what the range I particularly is trying to, accomplish. I love both Dennis predominantly is wonderful bass all the way through. I don’t know who’s who’s playing it. now and then, kind of warm little trumpet feeling comes in, but it’s a there’s a sort of heavy sort of, kind of commercial, part in the arrangement, the name and sticks out there when I don’t expect it.

00:01:52:12 - 00:02:05:17 Unknown Speaker: The girl sings fun and on key. I don’t know who she is either. I think she’s very good. It’s a complete puzzle to me. the the meaning of the arrangement.

00:02:05:20 - 00:02:09:06 Leonard Feather: Yeah. You know, these think sounds commercial.

00:02:09:09 - 00:02:23:26 Unknown Speaker: Well, no, I don’t resent that. you, it has, bits of commercialism that that I think are not nearly as attractive as that wonderful walking bass all through it and a little bit of trumpet. Yeah, yeah.

00:02:24:09 - 00:02:25:25 Leonard Feather: the turn, by the way.

00:02:26:04 - 00:02:26:18 Unknown Speaker: oh.

00:02:26:20 - 00:02:30:21 Leonard Feather: Tell me what what you would give it.

00:02:30:23 - 00:02:33:10 Unknown Speaker: Two and a half, I guess. Okay.

00:02:33:12 - 00:02:39:01 Leonard Feather: It’s.

00:02:40:28 - 00:03:11:28 Unknown Speaker: well, I, I like this. I don’t know which one of the mama mama kings this is. It sound a little advice, like Stan doing a takeoff on one of them. But I recognize from the exclamation, that it is, I guess the big one. The biggest one. I’m very fond of my my, Musically. Musically, I, crazy about the the record is this one is amusing.

00:03:12:01 - 00:03:37:12 Unknown Speaker: I mean, is that was that. Yes. Oh, do you hear that? Well, I’ve heard some of more exciting ones. less amusing ones by this, this particular band. So I would say two perhaps.

00:03:38:00 - 00:04:07:16 Unknown Speaker: perhaps I’m wrong with the same with some Ellington alumni. And there’s a little, a little group, I’m sure, I’m not certain whether it’s Johnny because, don’t feel the, the long haul and the, ends of the sax as follows. You know that he had. But, there’s some that in the Valentine, and I like it very much.

00:04:08:12 - 00:04:11:25 Unknown Speaker: is it, is it Johnny’s group also?

00:04:11:25 - 00:04:12:05 Leonard Feather: In a minute.

00:04:13:03 - 00:04:38:17 Unknown Speaker: well, it may be Strayhorn playing. Oh. I like the that it, it plays a lot like the, the one of them. The piano. and the bass sounds familiar and just exactly the way I like bass. I. But to somebody from my favorite band. Is that. Oh, yeah. well, three,

00:04:38:19 - 00:04:47:23 Leonard Feather: I just got this record.

00:04:48:06 - 00:05:12:26 Unknown Speaker: well, Leonard, there you have me. I don’t know whether this is Chicago style. oh. Kansas City style or hot style. I like some authentically rather old Dixieland things. I’m crazy about the things that the Louis did a long time ago with the small original group, you know.

00:05:12:28 - 00:05:13:24 Leonard Feather: Not a.

00:05:13:27 - 00:05:42:29 Unknown Speaker: Well, no, but I do this quite honestly, because he has humor and, the kind of, you know, not seriously taking himself attitude that just makes those records warm and wonderful. This, to me, sounds rather like sort of new, one of those styles. And, and, not too interesting to me. Yeah. But, it’s probably a good representative of what it is.

00:05:42:29 - 00:05:46:20 Unknown Speaker: So I would, wouldn’t moderate it.

00:05:46:22 - 00:05:47:18 Leonard Feather: What? You have to.

00:05:47:20 - 00:05:49:19 Unknown Speaker: Oh.

00:05:49:21 - 00:05:50:27 Leonard Feather: How much does that appeal?

00:05:50:29 - 00:05:51:25 Unknown Speaker: Well,

00:05:51:28 - 00:05:53:14 Leonard Feather: This is in the commercial evaluation.

00:05:53:16 - 00:06:08:15 Unknown Speaker: Yes. Well, I would say all it does, it doesn’t interest me. one and a half,

00:06:08:18 - 00:06:15:15 Leonard Feather: It’s, it’s one of those.

00:06:16:13 - 00:06:22:22 Unknown Speaker: I think that’s right. And I love every bit of that. A bit of it.

00:06:22:24 - 00:06:24:24 Leonard Feather: You know.

00:06:24:26 - 00:06:28:15 Unknown Speaker: You know how long I’ve known him. It is. It is a crock.

00:06:28:18 - 00:06:30:17 Leonard Feather: Well, you know, thanks for doing it, Parker.

00:06:30:17 - 00:06:45:14 Unknown Speaker: You. Oh, well, I don’t know. It’s a lot like writing things like him. And, And it’s warm and it’s funny, and, it walks good. And, I don’t know about it technically, but,

00:06:45:16 - 00:06:46:06 Leonard Feather: You know.

00:06:46:08 - 00:06:48:09 Unknown Speaker: I like it.

00:06:48:29 - 00:06:50:11 Leonard Feather: I like the lyric, too.

00:06:50:13 - 00:07:01:08 Unknown Speaker: Sure. It’s it’s funny, you know, the, They don’t offend me.

00:07:01:10 - 00:07:02:19 Leonard Feather: Yeah. That all?

00:07:02:21 - 00:07:13:02 Unknown Speaker: It’s good. Yeah. I’ve got a lot of humor. I don’t think it takes itself seriously at all. And it works good. I would say three, I guess.

00:07:13:05 - 00:07:14:03 Leonard Feather: Yeah, I’ll. I’ll try.

00:07:21:26 - 00:07:37:04 Unknown Speaker: I’m kind of mixed up. Leonard. It’s a little reminiscent of, I think the way Charlie Van Drew is. I mean, it’s a small group with a wonderful trombonist. I. I can’t think of his name, but, I’m probably wrong.

00:07:37:07 - 00:07:38:04 Leonard Feather: Well maintained.

00:07:38:06 - 00:08:00:16 Unknown Speaker: The kind of music. Yeah, well, I like, this I’ve heard the name of, I mean, I don’t think this is the best one I’ve heard of this particular type. Music, small group bop, you know, polite, but, I would say to.

00:08:00:18 - 00:08:03:00 Leonard Feather: You know, because those.

00:08:03:02 - 00:08:08:14 Unknown Speaker: I like the trombone, very much. I don’t know who it is. That was.

00:08:08:28 - 00:08:11:03 Leonard Feather: kind of that on the down.

00:08:11:20 - 00:08:16:17 Unknown Speaker: well, the.

00:08:16:19 - 00:08:21:07 Unknown Speaker: No, I don’t really ring a bell. I’m sorry, you know.

00:08:21:08 - 00:08:21:27 Leonard Feather: Oh, I don’t know.

00:08:21:28 - 00:08:40:25 Unknown Speaker: Yeah. Well, I think they’re all good instrumentalists. I particularly like trombone, which is, yeah.

00:08:44:05 - 00:08:47:01 Leonard Feather: Well, I don’t buy the whole thing, but it’s not.

00:08:47:04 - 00:09:06:17 Unknown Speaker: Yeah, I don’t know the solos. it sounds a little like, like the lovely things evolve and evolve and and, And the jello. I’m not familiar. I’ve never heard this before. It’s like Walton, And I’m fond of it. It’s lovely. I’d like to know what it is.

00:09:06:19 - 00:09:07:14 Leonard Feather: Yeah.

00:09:07:16 - 00:09:08:08 Unknown Speaker: Yeah.

00:09:08:28 - 00:09:12:08 Leonard Feather: you you probably know more kind of music.

00:09:12:11 - 00:09:23:03 Unknown Speaker: Yes. Maybe. So. I haven’t heard this, though. I like it very much. I like violin, I love cello.

00:09:23:05 - 00:09:26:11 Leonard Feather: I was classical composers. You like.

00:09:28:14 - 00:10:04:06 Unknown Speaker: Well, for the as I say, I, I fell in love with Walton on the the, concerto that he wrote for, for heaven’s. Oh, yeah. And and then we, we have, trio of island trio of his. But I don’t think it’s the one that isn’t this obviously, you know, I like, I like Bartok and, Hindemith and, we love Mahler for a long, long time.

00:10:04:06 - 00:10:31:28 Unknown Speaker: And Miller, some of his old ones is funny, jazzy ones, you know, or, the early 1920s. A very amusing, I don’t know, this one, as I say, but I’m. I like it very much. As far as reading, I know. How would you rate something like that? Yeah, like the. Yes, well, I would I don’t know who the solos are with a very good.

00:10:32:11 - 00:10:33:11 Monica Zetterlund: yeah.

00:10:46:10 - 00:10:49:25 Unknown Speaker: Well, you got me at,

00:10:49:27 - 00:10:51:06 Leonard Feather: Do you like the sound?

00:10:51:09 - 00:11:18:25 Unknown Speaker: Yes, I like some. Yeah. That’s nice. Yes. That’s, that’s, Ellington. yeah. I don’t know what it’s, one of Billy’s, and I love it. I can’t think of the name of, it’s it’s left me and I know the tune. That’s nice. Is it Belinda playing together? it sounds like something they might dream up.

00:11:19:05 - 00:11:31:18 Unknown Speaker: to do. Except that, technically, it doesn’t sound like the the I don’t know, I like it. Is it going to be a thing? I mean, it’s kind of happen again.

00:11:32:08 - 00:11:34:05 Leonard Feather: what would you get a oh.

00:11:34:07 - 00:11:38:07 Monica Zetterlund: Oh,

00:11:38:10 - 00:11:41:09 Unknown Speaker: Two and a half,

00:11:41:11 - 00:11:44:08 Leonard Feather: Yeah. Well, I thought you might not know it because I don’t usually.

00:11:44:10 - 00:11:46:17 Unknown Speaker: Do, like, all comments. Yeah.

00:11:46:23 - 00:11:52:22 Leonard Feather: What kind of music you like? What do you listen to? Singers, band solos, everything.

00:11:52:25 - 00:12:29:23 Unknown Speaker: Yes. I would, I yeah. I guess, Leaving out Dixieland. I’m probably very Catholic and listening to. I should think, I don’t I’m unhappy about, the, the altogether the finishing. deterioration of some of the good things it was. But but is it going to rejuvenate into some other type music? I don’t think so.

00:12:29:23 - 00:12:31:02 Unknown Speaker: I don’t hear it or I don’t.

00:12:31:02 - 00:12:34:28 Leonard Feather: Hear it doesn’t work. I’m going guys are still playing the same.

00:12:34:28 - 00:12:36:13 Monica Zetterlund: Way, but,

00:12:37:17 - 00:12:54:26 Unknown Speaker: well, well, it wasn’t all very good, but there was some very interesting things going on. Yeah. I’ve heard 1 or 2 things lately of, Stan Kenton that I like very much. I didn’t used to, some.

00:12:54:26 - 00:12:55:12 Leonard Feather: Of the simpler.

00:12:55:19 - 00:13:05:11 Unknown Speaker: Yes. which is not a criticism, of course. it’s just that they they’re more appealing to me. Yeah, they are. They? Yeah.

00:13:05:14 - 00:13:07:18 Leonard Feather: That’s more likely. Yeah.

00:13:07:23 - 00:13:27:01 Unknown Speaker: Yes, yes, I, I like, the, the sharing things with Max playing drums with the Max Roach. Is he still, not Max, knows about Denzel. Yeah. playing with him. They’re so great.

00:13:28:08 - 00:13:30:10 Leonard Feather: yes, they do everything they do. Sounds alike.

00:13:30:10 - 00:13:55:12 Unknown Speaker: Now. Yeah. As well as Denzel. Still with them? It doesn’t. The first ones, you know, that came with that. That Shaq of the wonderful kind of drumming that he does with that liquid. The smoothness of Sherry was just tremendous. I don’t didn’t know he was still with him. Perhaps I haven’t noticed it now on the new ones, the yes, I say,

00:13:55:14 - 00:13:58:12 Unknown Speaker: The singers, of course I oh what a yeah.

00:13:58:20 - 00:14:00:18 Leonard Feather: Well, what records of any kind of.

00:14:01:09 - 00:14:48:14 Unknown Speaker: well, singers, of course we we we when I say we, I mean, Lenny, you know, Lenny and I love Ella. Anything that she does and and Louis and, I like so too, most, most of the things that, she does. yeah. Very exciting. basically, I, I think if, if, if a girl could execute like Ella and have certain vocal, imagination that Sarah has and, the warmth of, let’s say,

00:14:49:04 - 00:14:49:26 Leonard Feather: you know.

00:14:49:28 - 00:15:19:18 Unknown Speaker: Oh, no. Oh. Well, there she’d have a great starting point. That’s that’s the, the, instead of Ben Basic. That’s the Jesse Basic of all of all things. Classic live. my taste is pretty simple. I like all the modernists because they’re close to jazz. Jazz? You know, that’s the way I listen to it. rather.

00:15:19:20 - 00:15:46:04 Unknown Speaker: Ellington, of course, is makes the most sense to me. And anything that he does and the way Strayhorn writes, I, I’m a little partial to the things that that Lenny does, except that he’s a little cramped. His scope isn’t as broad as Ellington Australian, because he has the right of a necessity for movie music that I’m not crazy about yet.

00:15:46:11 - 00:15:49:21 Unknown Speaker: Yeah.

00:15:49:23 - 00:15:51:10 Leonard Feather: Oh, you Majesty, some.

00:15:51:12 - 00:16:20:25 Unknown Speaker: Yes. I think he’s as advanced as he can be. in his particular field, I.

00:16:27:24 - 00:16:31:03 Leonard Feather: Well.

00:16:31:06 - 00:16:56:17 Jon Hendricks: Appropriate blues. Yeah. I heard, is centerpiece. I heard let it roll. And I don’t know who that was playing saxophone, but that. No, by modulation was a gas. Good trumpet, good rhythm section, good group. It’s beautiful. Yeah. I like this. I like to hear more this kind of thing, you know, by groups. I don’t know who it was.

00:16:56:17 - 00:17:23:13 Jon Hendricks: I don’t know who any of the people were on a date, but they were good musicians, good singers. They sang in two, four stars. Oh. yes. Stubborn blues. I like that thing they did on the last four bars. I kind of had a oriental feeling to it, on it, and it asked for that hmhm.

00:17:23:15 - 00:17:29:20 Jon Hendricks: I don’t know who that was on vibes. I don’t like banks, but I don’t think so.

00:17:29:22 - 00:17:38:05 Jon Hendricks: And I don’t know who any of the other guys were, but it was pretty out. Okay. Who was that?

00:17:38:15 - 00:17:44:10 Leonard Feather: I mean, what what, good would you say that 1 or 2.

00:17:44:12 - 00:17:48:23 Leonard Feather: Of those.

00:17:55:10 - 00:17:56:08 Jon Hendricks: No.

00:17:56:10 - 00:17:58:24 Leonard Feather: What type of music is it that classified?

00:17:58:27 - 00:18:09:14 Jon Hendricks: You know? Yeah. I wouldn’t know if I say West Coast might have been done right in New York. As in New York might have been. Hell, he could have been anything the blues.

00:18:09:17 - 00:18:10:20 Leonard Feather: The top of that.

00:18:12:15 - 00:18:25:26 Jon Hendricks: it was it.

00:18:25:28 - 00:18:49:28 Jon Hendricks: It had a nice feel to it. Whoever that was playing that clarinet had a pretty tone. Remind me something of, Artie Shaw. Sounded like his tone. And that was a nice tune, too. Nice. Nice that it changes, but I have no idea who it was. Well, well done to. Nice arrangement. Well played. That was good gift for us.

00:18:50:01 - 00:18:54:29 Jon Hendricks: Well, yeah.

00:18:55:18 - 00:19:23:05 Jon Hendricks: That’s interesting. That was somebody in that Anita O’Day. June Christy quiz kind of school. I don’t know who might have been. Will. She been Chris. She was a Frank Sinatra tune pretty lately. I don’t know who that was. Can I know who that is?

00:19:23:07 - 00:19:25:21 Leonard Feather: What do you think of the singing for?

00:19:25:24 - 00:19:33:17 Jon Hendricks: Except for that one part, there it was in tune.

00:19:33:19 - 00:19:43:17 Jon Hendricks: Nice. Nice arrangement to I liked it. It was three stars, but I wish I knew who were, Who was that?

00:19:43:19 - 00:19:44:28 Leonard Feather: Oh.

00:19:45:00 - 00:20:06:26 Jon Hendricks: Yeah. I gave a happy feeling. I heard they had, a banjo in there, and, no bass fiddle because they had one of the horns. And was that big horn instead of a bass fiddle? was the name that horn? was.

00:20:06:28 - 00:20:30:22 Jon Hendricks: That sounded like it must have been a tuba. But, when I notice when the guy playing drums, he didn’t play the old role like they played in the authentic, stomping music. You know, the old time ragtime he played on his cymbal. And that cymbal had a new sound, a sound like one of them. Brand new zillions, you know.

00:20:30:28 - 00:20:48:06 Jon Hendricks: And that guy playing that, he really took that thing. Bought a cat on a tuba when he took that. That was modern riff. Sounds like back to me, a bunch of modern cats playing Dixieland, but I can’t be hip and put it down because I was not on my feet all the way for stars, you know? No.

00:20:48:08 - 00:20:51:22 Leonard Feather: We said that we thought it was the band.

00:20:52:13 - 00:21:07:00 Jon Hendricks: the Dukes of Dixieland. Yeah. This is the cast everybody is talking about Ornette Coleman and Don cherry, and, I think they only use a bass and a set of Jones. Right.

00:21:08:28 - 00:21:37:18 Jon Hendricks: Well, I don’t know. I wouldn’t know how to how to rate this, because for technical skill and getting around their horns, I have to give them five stars. But, singing melodically and running and, putting things together well, so that they create a beautiful melody. And that much happening. I wouldn’t know how to read it. I have to pass on this that, and let,

00:21:38:02 - 00:21:44:08 Leonard Feather: you wouldn’t agree with the theory that there doing some intaglio and social.

00:21:44:10 - 00:21:52:25 Jon Hendricks: No, no, I don’t I don’t I don’t go along with that at all. I don’t think that they’re doing anything.

00:21:52:28 - 00:22:04:27 Jon Hendricks: Entirely new or sensationally different. New maybe. And certainly different, but not entirely new and not sensationally different.

00:22:04:29 - 00:22:08:22 Leonard Feather: In other words, you don’t get any message from.

00:22:08:24 - 00:22:24:05 Jon Hendricks: I get it in pieces. I have to put it together so I can understand it. Which is which. to me is not the purpose of what a person pleases. You get the message as he plays it and be able to put it together at at the time. Not have to wait till later.

00:22:24:07 - 00:22:26:17 Leonard Feather: Okay. No. No further.

00:22:26:19 - 00:22:32:21 Jon Hendricks: No, I can’t read it.

00:22:32:29 - 00:22:57:14 Jon Hendricks: should I make my comment? yeah. Go ahead. Sasha Berlin and Don Elliott, the Chipmunks. Sasha, to me is an unsung hero for what he’s doing to get jazz on the television behind all those ads. You know, commercials. This is very interesting that they pick songs like that. I think it’s a wonderful thing. I’m sorry they have to do it like that.

00:22:57:14 - 00:23:12:18 Jon Hendricks: You know, speed up the tape and everything. But if it gets out here and people start hearing it, maybe there’ll be a time when they won’t have to do it like that and they can do it the regular way. Yeah. Because, you know, they sure can’t do it right. I can get.

00:23:12:20 - 00:23:30:09 Jon Hendricks: Hold on. You know, random change is pretty. I’m just sorry they have to do it that way. But, you know, mysterious. So yeah, it is hard. I would yeah. Well.

00:23:32:00 - 00:23:45:25 Jon Hendricks: Oh. that’s hard to read, too, because I give it just because I’m glad it’s out here. Give it for smash.

00:23:49:25 - 00:23:55:15 Jon Hendricks: What do they want to mess with? What else doing like that for?

00:23:55:17 - 00:24:07:13 Jon Hendricks: I don’t know who they were, but I liked it better the old way in it. So let’s boil this for me. I like that. That was a nice thing, you know, to change the key in the middle of the tune. But it don’t really it doesn’t add to it, you know.

00:24:07:15 - 00:24:08:20 Leonard Feather: Yeah.

00:24:08:23 - 00:24:10:24 Jon Hendricks: Don’t mess with something good.

00:24:10:27 - 00:24:13:29 Leonard Feather: In any of the songs to make any time.

00:24:14:26 - 00:24:34:27 Jon Hendricks: no. Except I was wondering whether that, was a valve trombone or, what’s the name? Trombone. You know, one more slide. I don’t know which was which. I didn’t know whether it was one of them. Sounds like it might have been a valve trombone, but it was undistinguished, and, I don’t like the way they mistreated a tune.

00:24:35:22 - 00:24:54:15 Jon Hendricks: did you get the same title that you got titled? what the hell? Great tune. Twist. I you had to get to see that one. That’s good. two stars.

00:24:54:18 - 00:25:21:28 Jon Hendricks: Yeah. Meaning the merciful. I was sitting in the in the workshop in Sunday afternoon. me and Judy listening to him get this together. And at the rehearsal of the date they were going to do this is Julian. And that and Bobby Timmons always. And Sam Jones. Beautiful. Give him the whole constellation.

00:25:26:00 - 00:25:28:13 Leonard Feather: You don’t have to,

00:25:28:16 - 00:25:52:11 Jon Hendricks: Go. That impressed me as one of those things where the arranger or the composer and arranger, you know, was both gets, you know, is the one most known on that kind of date. It’s one of the tunes that jazz is taking, you know, with a you have a writer arranges is the focal man on the date and not the people plan.

00:25:52:11 - 00:26:16:28 Jon Hendricks: And it was effective in that it had a lot of it, but I wasn’t very moved by it. And I rather hear the one we just heard moved me much more than that. I was able to respond, well, this is good for listening to something effective, but I didn’t get any particular thrill. It didn’t really. As far as the writing goes, I’m sure it’s very good, you know?

00:26:16:28 - 00:28:21:22 Jon Hendricks: And I can’t even make any kind of comment on that because I don’t know anything about that. But, speaking just as a listener and a non reading non-playing listener, it’s good. But it didn’t kill me. Yeah. Give it. Three stacks.

00:28:21:25 - 00:28:44:27 Leonard Feather: And.

00:28:45:00 - 00:28:50:22 Leonard Feather: Think.

00:28:50:24 - 00:29:02:14 Leonard Feather: And and.

00:29:02:17 - 00:29:13:26 Leonard Feather: And and.

00:29:13:28 - 00:29:30:24 Leonard Feather: And and.

00:29:30:27 - 00:29:34:19 Leonard Feather: And.

00:29:34:22 - 00:29:39:16 Leonard Feather: You know.

00:29:41:07 - 00:29:51:12 Leonard Feather: Being a very. Very.

00:29:51:14 - 00:30:03:15 Leonard Feather: Open.

00:30:03:17 - 00:30:12:02 Leonard Feather: And.

00:30:12:04 - 00:30:27:02 Leonard Feather: Fruitful.

00:30:27:04 - 00:30:29:12 Leonard Feather: Okay.

00:30:29:14 - 00:30:30:22 Monica Zetterlund: Yeah. I see it like this.

00:30:30:25 - 00:30:32:19 Leonard Feather: Yeah. It doesn’t, what.

00:30:32:26 - 00:30:57:19 Monica Zetterlund: You think of it. Yeah. I know the tune, you know. What’s it called? Yada yada Ying yang. Yeah, yeah, yeah, yada. And, it must have been, bum bum wrote my. And, I think, you know. but the rest, I, don’t know.

00:30:57:19 - 00:31:01:17 Unknown You know who they are.

00:31:03:05 - 00:31:12:19 Monica Zetterlund: It’s always.

00:31:12:22 - 00:31:18:24 Monica Zetterlund: Well, yeah. What what’s more to say? Should I give it stars or what?

00:31:18:26 - 00:31:21:22 Leonard Feather: Yeah. I mean, what did you like to do? Like that kind of music?

00:31:21:24 - 00:31:22:24 Monica Zetterlund: Yeah.

00:31:22:27 - 00:31:28:16 Unknown I, I was those guitar.

00:31:28:18 - 00:31:42:04 Monica Zetterlund: I think, Oh, the good guitar was good. It was, I don’t know who it was, though, but it was, Personally.

00:31:42:07 - 00:31:46:17 Leonard Feather: Personally personal.

00:31:46:20 - 00:31:48:12 Monica Zetterlund: And the drums was very well.

00:31:48:12 - 00:31:51:29 Unknown Played, I think.

00:31:52:01 - 00:31:54:07 Unknown Is simple.

00:31:54:10 - 00:31:55:02 Leonard Feather: Yeah.

00:31:55:04 - 00:31:59:21 Monica Zetterlund: Not too complicated.

00:31:59:23 - 00:32:04:15 Monica Zetterlund: I hope it was broke. My.

00:32:04:18 - 00:32:12:02 Leonard Feather: Yeah. Five stars with sensational. Four is very good. Three is good. Two is fair and one is bad.

00:32:12:04 - 00:32:18:02 Monica Zetterlund: I think three then. Okay.

00:32:23:05 - 00:32:37:21 Monica Zetterlund: Yeah. I could have then just all night, you know, I was, Yeah. It’s funny.

00:32:38:05 - 00:32:56:11 Monica Zetterlund: it’s, difficult for me to say who who who they are really. It sounds. It sounds, like Miles Davis.

00:32:56:14 - 00:33:01:21 Monica Zetterlund: I don’t know, I don’t know if you recorded that to.

00:33:01:23 - 00:33:03:05 Leonard Feather: You because I didn’t. Yeah.

00:33:03:07 - 00:33:24:02 Monica Zetterlund: Yeah, I did, I did, but not the same way though. I did it as a ballad in Swedish. Yeah, in Swedish.

00:33:24:04 - 00:33:31:08 Monica Zetterlund: I think I like it. This is at least different.

00:33:31:11 - 00:33:32:20 Leonard Feather: You know, I’ve heard of the wolf.

00:33:32:22 - 00:33:50:23 Monica Zetterlund: Oh, yes, I do. Especially when they’re playing solos or. And they have, different things going on, you know. I can tell who’s the who’s the flute?

00:33:50:25 - 00:34:02:06 Monica Zetterlund: He he sounded very pretty and a very nice tone. Was it piccolo?

00:34:02:08 - 00:34:13:13 Monica Zetterlund: I was it, oh. No food. Oh, I guess it’s not a very, not.

00:34:13:15 - 00:34:18:06 Unknown How would you rate it?

00:34:18:09 - 00:34:22:16 Monica Zetterlund: I see.

00:34:22:19 - 00:34:34:07 Monica Zetterlund: Let me see.

00:34:34:10 - 00:34:41:23 Monica Zetterlund: Sometimes you sound like, flake on drums, but, I don’t know the piano. I.

00:34:41:23 - 00:34:49:02 Unknown I don’t know really.

00:34:49:05 - 00:35:03:11 Monica Zetterlund: Well, I like it. Let’s give it the see. No, I couldn’t give it one.

00:35:03:13 - 00:35:04:27 Monica Zetterlund: No. Three.

00:35:04:29 - 00:35:05:16 Leonard Feather: Three.

00:35:05:19 - 00:35:34:03 Monica Zetterlund: Yeah, I think so. Okay. So so so what? I, I think it’s, I suppose it’s very interesting. And, it’s full of strings, but, I don’t really care for for Brubeck’s piano.

00:35:34:06 - 00:35:43:15 Monica Zetterlund: But I, Hello? Paul. Desmond. Yeah. And I like the drummer, too.

00:35:43:25 - 00:35:54:09 Monica Zetterlund: but, so kind of strange thing, though. It must be one of his compositions, I suppose.

00:35:54:12 - 00:35:59:03 Leonard Feather: You know, the odd time. One time. It’s not a regular four.

00:35:59:03 - 00:36:29:19 Monica Zetterlund: Four. No, no it’s not. No, but I don’t think it’s just that that’s why, really, when Desmond plays it, it is. But when he’s, you know, it’s it’s a good piano player. You can hear it. And it’s strange, but I personally doesn’t care. I don’t care for it too much. So two, oh, yes, Lord, my cigaret lighter.

00:36:29:22 - 00:36:31:26 Monica Zetterlund: Okay. I said.

00:36:31:28 - 00:36:36:10 Unknown Oh, excuse me.

00:36:36:12 - 00:36:40:17 Unknown Thank you, Ray Charles.

00:36:40:19 - 00:37:13:07 Monica Zetterlund: I know that even if it’s, it must be an old, must be an old, Recording. Because I never heard him like that before. But it was nothing. To. It must be him. Yeah. You could. Especially the piano playing is still the same, but I prefer. I prefer him the way he sings. Not. Might be that the recordings are are better now.

00:37:13:09 - 00:37:18:03 Monica Zetterlund: And,

00:37:18:06 - 00:37:34:00 Monica Zetterlund: I don’t know what band it was, though, but I think I prefer him with his own, with his own band. They worked up things together. I like it very much.

00:37:34:02 - 00:37:36:19 Unknown For I think.

00:37:36:21 - 00:37:40:05 Leonard Feather: What do you think Ray Charles has?

00:37:40:08 - 00:37:42:13 Monica Zetterlund: Oh, yes. the soul.

00:37:42:16 - 00:37:54:06 Leonard Feather: That’s what I want you to say. Okay. Oh.

00:37:54:08 - 00:38:10:14 Monica Zetterlund: Yeah, I like that. And do. It is difficult them to to say it is, what I like most is the first tenor. So.

00:38:10:19 - 00:38:12:26 Leonard Feather: So. Oh. Oh, yeah.

00:38:12:29 - 00:38:22:14 Monica Zetterlund: I like that very much. Must be one of these mornings. I think.

00:38:22:16 - 00:38:23:21 Leonard Feather: About the last trombones.

00:38:24:13 - 00:38:37:01 Monica Zetterlund: oh, yeah. I love that too. The last one? Yeah. Yeah, I it’s so difficult for me to say what it is.

00:38:37:03 - 00:38:47:19 Monica Zetterlund: Because I don’t think I’ve heard this band before, you know, together. It must be in a session or something. Is it?

00:38:47:21 - 00:38:49:19 Leonard Feather: Well, I’ll tell you later.

00:38:49:22 - 00:38:59:23 Monica Zetterlund: Okay? Okay.

00:38:59:26 - 00:39:19:15 Monica Zetterlund: The tenor sax, first, I like very much. I wouldn’t dare to say, because, I don’t know who it was really sounded a little Sonny Rollins, and I didn’t call Trane.

00:39:19:18 - 00:39:20:19 Leonard Feather: I think the band as a whole.

00:39:20:22 - 00:39:22:20 Monica Zetterlund: What the. What?

00:39:22:23 - 00:39:24:06 Leonard Feather: The band. That’s what.

00:39:24:09 - 00:39:29:25 Monica Zetterlund: Oh, yeah. Definitely.

00:39:29:28 - 00:39:32:23 Monica Zetterlund: I think.

00:39:32:25 - 00:39:35:28 Unknown What would you rate it?

00:39:36:00 - 00:39:50:15 Monica Zetterlund: I give it four stars, I think was, Okay. Must, atmosphere there.

00:39:50:17 - 00:39:56:07 Monica Zetterlund: Oh. That’s good.

00:39:56:10 - 00:40:03:10 Monica Zetterlund: I never heard the tune. No, I don’t I suppose it’s cold.

00:40:03:12 - 00:40:11:05 Monica Zetterlund: As long as you care for me or something like the.

00:40:12:02 - 00:40:18:25 Monica Zetterlund: it was, of course, I love it. Fitzgerald.

00:40:18:28 - 00:40:21:21 Unknown And, I never heard.

00:40:21:28 - 00:40:28:02 Monica Zetterlund: Her do anything. Then. She’s always great.

00:40:28:05 - 00:40:29:09 Leonard Feather: I like the arrangement.

00:40:29:12 - 00:40:34:12 Monica Zetterlund: Yes, definitely.

00:40:34:14 - 00:40:41:14 Monica Zetterlund: I do, yeah.

00:40:41:17 - 00:40:50:29 Monica Zetterlund: This is one of my big. I never heard it.

00:40:51:02 - 00:40:51:20 Monica Zetterlund: I liked that.

00:40:51:20 - 00:40:58:03 Unknown Arrangement very much.

00:40:58:06 - 00:41:00:13 Monica Zetterlund: Oh, what more to say?

00:41:00:15 - 00:41:01:19 Leonard Feather: Well, you heard the song.

00:41:01:19 - 00:41:02:06 Monica Zetterlund: Was that you.

00:41:02:06 - 00:41:04:19 Leonard Feather: Heard Ella Sweeten, I suppose with a small girl.

00:41:04:21 - 00:41:18:25 Monica Zetterlund: Yeah. Oh, she can. Yeah. No, she can sing with small groups and big bands. She’s always good. She. She knows how it goes.

00:41:18:27 - 00:41:24:06 Unknown Okay. How would you rate it for.

00:41:24:08 - 00:41:30:19 Monica Zetterlund: Oh, yeah. I could tell you all about that one.

00:41:30:21 - 00:41:35:18 Monica Zetterlund: And,

00:41:35:20 - 00:41:36:21 Leonard Feather: Oh, yeah.

00:41:36:23 - 00:41:55:04 Monica Zetterlund: Oh, yes, I heard it. I’ve heard it, once. Only once. Or maybe they’ve done it twice. Twice when I’ve been at the concert to. But,

00:41:55:06 - 00:42:05:27 Monica Zetterlund: I didn’t know until the other day really what it was. And when I was home. And the first organ and I played it, I got homesick. So I played, you know, Quincy’s at home. Yeah.

00:42:06:00 - 00:42:09:02 Leonard Feather: Oh, yeah. And,

00:42:09:04 - 00:42:37:25 Monica Zetterlund: I think I must give it four stars, because on and on there is he always. You know, it was killed me every every night. Even if we played together every night. He always, he always plays good. He he comes with new things every time. He doesn’t play the same. He’s always interesting. And that’s, That proves that he’s a good musician.

00:42:37:27 - 00:42:39:22 Leonard Feather: You hear anybody else besides?

00:42:39:24 - 00:42:58:28 Monica Zetterlund: Yeah. It was, the other out to was, Ralph Buckman, Ralph Beck. Mom. I know all the guys in the van. and I think that, Quincy wrote the arrangement, didn’t he?

00:42:59:00 - 00:43:03:03 Unknown Took. Yeah, I think he did.

00:43:03:05 - 00:43:13:07 Monica Zetterlund: Maybe not, but he wrote, the most of the things on this record. But.

00:43:13:09 - 00:43:19:23 Monica Zetterlund: No, it didn’t. No, I didn’t I don’t think he wrote this one, though.

00:43:19:25 - 00:43:25:03 Unknown I think, Oh. Well, I don’t know. I don’t know for sure.

00:43:25:05 - 00:43:26:05 Monica Zetterlund: Anyway, I like it.

00:43:26:09 - 00:43:31:19 Leonard Feather: Yeah. Okay. I.

00:43:33:17 - 00:43:38:21 Monica Zetterlund: Is little horn.

00:43:38:24 - 00:43:58:24 Monica Zetterlund: Oh she’s very good. But I prefer when I can watch her at the same time not only listen to when I can see her, because I think she is one of the greatest artists on the stage.

00:43:58:26 - 00:44:05:24 Monica Zetterlund: And, I suppose it’s her husband that did the arrangements then. I hate.

00:44:05:27 - 00:44:11:11 Unknown Sounds a little bit like it.

00:44:11:13 - 00:44:12:23 Leonard Feather: Yeah, we had to move on.

00:44:14:14 - 00:44:16:21 Monica Zetterlund: Yeah, maybe, I don’t know.

00:44:16:24 - 00:44:18:14 Leonard Feather: Did you understand the lyrics?

00:44:18:16 - 00:44:38:18 Monica Zetterlund: Yes, I do, but, these things, you know, I really prefer to to see her do than to listen to it. Like when she does love me or leave me and things like that. You can listen to it and enjoy it very much. But this is,

00:44:38:20 - 00:44:51:10 Monica Zetterlund: This is more or less stage numbers, I think. so, for listening, it’s good though.

00:44:51:12 - 00:44:53:05 Unknown I know it.

00:44:53:07 - 00:45:05:07 Monica Zetterlund: Three I couldn’t give more than three, but yeah, I like her anyway. I couldn’t give her less either because I like her so much to watch and things like that.

00:45:05:10 - 00:45:12:09 Leonard Feather: What would you give five stars if I played it?

00:45:12:11 - 00:45:18:26 Monica Zetterlund: I know what I would give five stars for would be,

00:45:18:29 - 00:45:35:12 Monica Zetterlund: Some of the things in Porgy and Bess with, With, Miles and, this morning from this one, I would give five stars. I think I could watch. Morning.

00:45:35:14 - 00:45:37:11 Leonard Feather: Morning. Yeah, but.

00:45:37:14 - 00:45:38:14 Monica Zetterlund: Yes.

00:45:38:17 - 00:45:43:14 Unknown And,

00:45:43:16 - 00:45:46:01 Unknown And,

00:45:46:03 - 00:45:57:22 Monica Zetterlund: Of course, I think it’s all right, but. And I think that love and this,

00:45:57:24 - 00:46:13:26 Monica Zetterlund: Losing and losing hands, I think with Ray Charles. Okay. And this,

00:46:13:29 - 00:46:15:10 Monica Zetterlund: This here?

00:46:15:19 - 00:46:16:17 Leonard Feather: yeah, I.

00:46:16:20 - 00:46:30:18 Monica Zetterlund: We can blow. Yes. Oh, that’s really, That’s something else. Oh, something else is good. That’s that’s worth five stars to.

00:46:30:18 - 00:46:31:13 Leonard Feather: Something else by.

00:46:31:18 - 00:46:32:05 Monica Zetterlund: Yeah. Kind of.

00:46:32:05 - 00:46:44:12 Unknown Well,

00:46:44:14 - 00:47:08:26 Unknown Speaker: I got a viewers good friend of mine coming your way. In just a few moments. The old feather merchant of music, Mr. Leonard Feather WOIO will remain on the air all night to bring you the latest developments of general MacArthur’s flight to Hickam Field of Hawaii. Stay with us for news of the flight and enjoyable music until the plane lands, at which time we’ll have an on the spot broadcast direct from Hickam Field, Hawaii.

00:47:08:28 - 00:47:27:04 Unknown Speaker: 1:30 Eastern Standard Time, 710 on your dial w o r New York.