BOHP_2007-06-18 - Charlie Mariano - 5
FB: So you were getting yoru big band chops in and you survived for 18 months? CM: Yeah,and I was playing a lot of lead in those days, too. You know that was a challenge in the beginning but then they get to be so repetitive and boring. FB: So you just severed your relationship and moved on. CM: After 2 years I quit, and I was still living in Los Angeles so I started playing with Shelly Manne and Frank Rosalino and you know I was doing a lot of recording in those days. FB: You were on a lot of contemporary records with Shelly Manne and his men. He had some good people working with him. Leroy Vinegar, Red Mitchell. CM: Well he was never in the group when I was there, but I've played with Red, sure. Wonderful. FB: Who was on piano? Ross Freeman? CM: Ross Freeman. Ross Freeman and Stu Williamson on trumpet and Hal trombone. FB: Oh nice. Underrated. CM: Very underrated. He was a great player. FB: So you stayed on the West Coast there for a couple years? CM: I stayed on the West Coast until that started to get to me too because I was from the East and the weather was too nice out there. FB: You were lookin for some winter? CM: Yeah I mean I was ... I was doing a lot of recording, but the recordings were like scale mostly. And I think in those days it was something like 25 dollars a session. It was not great at all. It was hard for me. I had three kids already at the time. FB: Did they all move to the West Coast with you? CM: Yeah, and it was a difficult time. I mean if it hadn't been for Shelly Manne, and also like the music scene there. I never felt like a West Coaster. I'm just from Boston I felt like... So I moved back to Boston in 1958. FB: So socially you felt like an outsider? CM: I don't know about that. There was something missing. There was not the energy that you've got in the East... FB: Too laid back. Too cool not enough hot. CM: Yeah I told them I was in the East Coast West Coast jazz wars. I didn't want to be known as a West Coaster, you know, that would have been embarrassing. FB: Like the Mets and the Giants or something you know. CM: I moved back in like 1958 because things had started to slow down on the West Coast and I was anxious to get back to the East and as soon as I did it felt like I was alive again. FB: Wow.. CM: The energy of music making completely different. FB: Fascinating. That's good to hear. I mean it's good to hear you voice that. CM: I mean I was playing with good people out there. But of course you know all those guys were from the east. Shelly Manne came from Worcester, Massachusetts. Shorty Rogers. Frank Rosalino was from Detroit. FB: So there was the lure of the studios and the summer and the beach and all that stuff. CM: I was still a newcomer on the scene and so I was getting once in a while recording sessions but I was never on that studio scene. FB: Gotcha. So back in Boston you.. CM: Back in Boston I started to teach at Berklee. FB: Mmhmm.