Talk:Dick Morrissey

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Stan Jones[edit]

The Stan Jones mentioned in this article is a British jazz pianist and not the US politician referred to in the Internal link that was included recently. November 4th 2006

I have eliminated the original text contained on this discussion sheet as it has been incorporated into the article in full. November 7th 2006

photo[edit]

Not sure as to how to go about finding a photo on internet. Anyone out there who can sort it out? Thanks. 83.191.63.182 19:21, 13 November 2006 (UTC)[reply]

unconfirmed sources[edit]

Some sources mention Dick Morrissey playing with visiting musicians such as J.J. Johnson, Benny Golson and others. Can anyone confirm? 83.191.30.182 19:58, 16 November 2006 (UTC)[reply]

It is known that Dick Morrissey had been in intense talks with Brian Epstein about a music project just weeks before the latter's tragic death in August 1967. Does anyone out there have any references? 83.180.157.136 20:23, 8 December 2006 (UTC)[reply]

He was my father. This is true. 185.13.107.234 (talk) 01:04, 3 May 2023 (UTC)[reply]

deleted alto sax reference[edit]

I have deleted the reference to alto sax as it is highly unlikely that he ever played said instrument. I have seen liner notes which accredit him as playing it, but it invariably refers to another saxplayer playing on the same session (his style on whatever instrument is unmistakeable and he would probably not adopt a different style just for the alto) or him playing soprano. If anyone has proof positive please accept my apologies and return the reference soonest. Thank you. 83.180.150.189 09:43, 16 December 2006 (UTC)[reply]

About Epstein, No proof, but as his step son I remember this talk from back home. He was going to manage him, apparently. —Preceding unsigned comment added by 83.250.9.143 (talk) 04:21, 4 January 2009 (UTC)[reply]

Deleted data[edit]

I think it's great that we all contribute to these articles and that we all different criteria - that is surely the essence of Wikipedia. So in keeping with said spirit, don't you think that before editing, or rather, directly deleting a relatively deeply-researched reference (including an external link), you could have put the matter up for debate on this talk page, rather than leaving the following opinion ( edited passage which contained nothing directly relevant to the artcle. It is likely that a reader of an article on a comparatively minor figure would be aware of the context)) on the history page. I think a contributor should at least have an opportunity to 'defend' his/her criteria for inclusion of data. Furthermore, am not quite certain whether your reference to "a comparatively minor figure" refers to the music festival or the subject of the article itself, Dick Morrissey.

Am including the "offending" data on this talk page for future reference and possible debate. Thank you. Deleted: With the huge transformation of the UK music scene brought about by Beatles-inspired bands in the mid-to late-60s and the resulting evolution into the rock bands of the 70s, one of the main ‘victims’ was jazz music. Within the UK jazz world, ‘mainstream’ jazz starting losing out to a freer form of jazz. And with live jazz venues closing down and a greater emphasis on studio recording, if jazz musicians wished to continue playing before audiences, they had to move with the times or resort to studio session work.

This evolution was especially evident in the metamorphosis of the National Jazz Festival to National Jazz and Blues Festival, to National Jazz, Blues and Rock Festival and finally, by 1976, to the Reading Rock Festival. Dick Morrissey’s last appearance under his own name was at the 6th festival held at Windsor (1967), although he would return to the festival with If in 1972, for their only appearance at what had become a beer can-throwing event rather than a music festival. 83.191.43.155 16:57, 16 December 2006 (UTC)[reply]

I still stand by my decision anonymous user, though you are quite right to say that I should have commented here before now.

Within the UK jazz world, ‘mainstream’ jazz starting losing out to a freer form of jazz.

This is plainly untrue; the venues Evan Parker, John Stevens, et al played at were tiny. My larger point is that your general comments on British jazz don't belong here: the article on the UK scene and history is rather underdeveloped. The phrase "a comparatively minor figure" reads as an unfortunate slight, but I was thinking of a passage I added to the section on the 1940s in Duke Ellington's article, where an explanation of the context seems relevant; that article is unlikely to be read mainly by the jazz hardcore.

The following is unencyclopedic, but is rightly developed in an appropriate form in the National Jazz and Blues Festival article:

"at what had become a beer can-throwing event rather than a music festival".

Hope this helps. Philip Cross 17:41, 16 December 2006 (UTC)[reply]

meaningful communication[edit]

Dear Philip Cross. Many thanks for your prompt reply. Agree almost entirely with the points you raise and as such stand corrected where applicable. Keep up the good work (esp. on Ronnie Scott article). Rgds from "Anonymous user" (only because haven't yet had time to sit down and work out any better solution, such as logging in - New Year's Resolution Nº. 1) 83.191.43.155 19:20, 16 December 2006 (UTC)[reply]

Deleted trivia[edit]

Agree that the trivia section per se should go, but am including it here for future reference for future articles and/or inclusion in the text body. It's precisely the cross-referencing wikilinks that make Wikipedia so great.

Trivia[edit]

This article contains a list of miscellaneous information. Please relocate any relevant information into other sections or articles. (April 2008)

Malcolm Cecil, who played bass on Dick Morrissey's first solo album, It’s Morrissey, Man! (1961, Fontana), went on to join Alexis Korner's Blues Incorporated and then to work for Stevie Wonder and to develop the TONTO synthesizer.

Colin Barnes, who played drums on It’s Morrissey, Man! (1961, Fontana), went on to record several albums with Michael Garrick.

Stan Jones, who played piano on It’s Morrissey, Man! (1961), had played with Vic Ash and had also been a member of the Allan Ganley-Ronnie Ross Jazzmakers which had toured the USA as part of an all star package in September 1959 featuring Thelonious Monk, Lennie Tristano,George Shearing, Anita O'Day and the Humphrey Lyttelton band.

Bass player Ashley Kozak, with whose Quartet Dick Morrissey spent most of 1962 in Calcutta, went on to manage Donovan and to work for Brian Epstein's NEMS Enterprises.

The Dick Morrissey Quartet members Phil Bates on bass, and Bill Eyden on drums, had both been members of The Jazz Couriers, the quintet co-led by Tubby Hayes and Ronnie Scott.

Shortly after appearing on Here and Now and Sounding Good! in September 1966, Bill Eyden recorded the definitive version of Procol Harum's hit single "A Whiter Shade of Pale" (April/May 1967).

Drummer Jackie Dougan had been a member of Buddy Featherstonhaugh's quintet in the late 1950s, together with Kenny Wheeler and Bobby Wellins.

--Technopat (talk) 16:11, 1 August 2008 (UTC)[reply]

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