![]() JH: Miles Davis-when we played a number of concerts…this was when he had Wayne and Herbie and those guys, and Trane had Elvin… we didn‘t play opposite Trane, we played opposite Miles several times. Did you ever hear what he thought of that band? I incorporated it and the band changed the arrangement and gave it more of a rhythmic motif that was not originally-it was more classical when I first wrote it.ĭBJ: That Monterey group almost seems to anticipate fusion in some ways-and I‘m guessing that Miles Davis must have heard you, either live or on record. ![]() I wrote it originally for piano and viola. That piece in particular ("The Spanish Lady") but we also did another piece, "If Only We Knew," another modal-type thing that I‘d actually written back in 1956, when I was a student. What do you think were the factors that made that appearance such a success for you? Ralph Gleason, I know, had heard you at the Both/And in San Francisco and started writing about you, and then you were this big hit at Monterey in ‘65. ![]() To hear some of Handy's music from the 1960s, check out Handy On the Horn in the Night Lights archives.ĭBJ: Yeah, well that band has an incredible sound. In the conclusion of our four-part interview with saxophonist John Handy, he discusses why his quintet broke up, playing Bartok with classical pianist Leonid Hambro, a forthcoming Mosaic Records collection of previously-unreleased 1960s recordings, his experiences as a jazz educator, and his memories of Monterey and the mid-1960s rock scene. ![]()
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