Life in E Flat – The Autobiography of Phil Woods

by Phil Woods

Check out the way Bird executed on the Metronome All-Star date with Tristano, most notably on Lennie’s tune, “Overtime.”

his world premiere recording of the Paul Creston Saxophone Sonata, with the composer himself at the piano or his world premiere performance, at age 24, of Creston’s Concerto for Saxophone with

it’s either die or play your horn, and I’ve always wanted to play my horn, no matter what the circumstances

He was sort of in the Philly Joe Jones mode—totally fucked up, but could always take care of business, show up at the gig, and look clean.

Vipers like having lots and lots.

These Slavs were a different breed of socialist.

Dizzy in South America, Volumes 1, 2 and 3. They are superb, and highly recommended

Hotel helping copy the music for the date. The album was called The Young Bloods with Donald Byrd on trumpet, Teddy Kotick on bass, and Charlie Persip on drums.

Can you imagine, these two Black geniuses of American music taking the time from their busy lives to straighten out my poor white ass?

The Thelonius Monk Orchestra At Town Hall.

in any event, everyone is entitled to at least one affectation.)

I saw Budd shoot pool with Don Byas, Lucky Thompson, and Ben Webster. Man, that was some serious B-flat pool.

We always had a beer for a thirsty trouper and a toke for a nervous viper!

That’s the difference between musicians then and now. It wasn’t about wealth, or fame, or limousines.

due mainly to Willis Conover’s Voice of America broadcasts. This man did more to spread the word of jazz than anyone else in history.

He looked like a wheat farmer dressed for church.

I love fame and glory and money, but the best currency for me is the support of my compatriots.

Birth of the ERM, is available on the Philology label.

Alive and Well in Paris (Pathé-Marconi), my

Meanwhile, in June 1969, we recorded at the Montreux Jazz Festival, when it was still a real jazz festival and the record companies kept their grubby hands off the programming.

Round Trip and the ERM album was called Live at Montreux.

Live at the Wigmore Hall,

chatted and listened to Duke. Who else? When you were with Ben,

you listened to Duke!

When I want to hear a song and be touched, I listen to Ben Webster. He’ll do it every time.

Derek and Gene Quill were the best modern-age lead altos in the biz.

Chromatic Banana, and the only thing I like about it is my kids at the end introducing everyone, Gar in English and Aimee in French.

“Don’t bullshit me! I invented bullshit and you ain’t goin’ out there!”

New Music by the New Phil Woods Quartet and

I maintain a dispassionate, analytical attitude towards most of my work. But when I listen to “You Must Believe In Spring,” I relive the trauma and the delight of that time and it touches me deeply.

The first project for the fledgling label was Images, a suite for alto sax, piano, and orchestra.

Musique Du Bois, for Muse Records, Joe

get the music off the paper and into the air—a real ensemble sound instead of just passing out chord symbols.

The Phil Woods Quartet/Quintet 20th Anniversary

Phil Woods Quartet Live and More Live were well received and nominated for Grammys. More Live won a Grammy for best group performance. The group with Harry had won in 1977 for Live from the Showboat.

don’t mess with a man who spends a good part of his life playing quarter notes!

One trumpet player whom I love called me on it by saying it wasn’t about being the best. The hell it isn’t. It’s all very well for the OK players to prop each other up. I know. His sense of melodic

my Strayhorn album, Ballads and Blues,

“Theme From the Pawnbroker” (This is How I Feel About Quincy)

“Ballad for Very Tired and Very Sad Lotus Eaters” by Billy Strayhorn,