Difference between revisions of "Boston Globe Jazz Festival"
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| − | "[[The Real Frank Zappa Book]]" (1989): "''The first time we played with Rahsaan [[Roland Kirk]] was at the 1968 [[Boston Globe Jazz Festival]]. After his performance, when introduced to him backstage, I said I really liked what he was doing, and said that if he felt like joining us onstage during our set, he was more than welcome. In spite of his blindness, I believed we could accommodate whatever he wanted to do. We began our set, wending our atonal way toward a medley of 1950s-style honking saxophone numbers. During this fairly complicated, choreographed routine, [[Roland Kirk|Rahsaan]], assisted by his helper (can't remember his name), decided to join in.''" | + | ... |
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| + | FZ in "[[The Real Frank Zappa Book]]" (1989): "''The first time we played with Rahsaan [[Roland Kirk]] was at the 1968 [[Boston Globe Jazz Festival]]. After his performance, when introduced to him backstage, I said I really liked what he was doing, and said that if he felt like joining us onstage during our set, he was more than welcome. In spite of his blindness, I believed we could accommodate whatever he wanted to do. We began our set, wending our atonal way toward a medley of 1950s-style honking saxophone numbers. During this fairly complicated, choreographed routine, [[Roland Kirk|Rahsaan]], assisted by his helper (can't remember his name), decided to join in.''" | ||
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[[Category:Geography]] | [[Category:Geography]] | ||
[[Category:The Real Frank Zappa Book (The List)]] | [[Category:The Real Frank Zappa Book (The List)]] | ||
Revision as of 15:07, 4 June 2005
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FZ in "The Real Frank Zappa Book" (1989): "The first time we played with Rahsaan Roland Kirk was at the 1968 Boston Globe Jazz Festival. After his performance, when introduced to him backstage, I said I really liked what he was doing, and said that if he felt like joining us onstage during our set, he was more than welcome. In spite of his blindness, I believed we could accommodate whatever he wanted to do. We began our set, wending our atonal way toward a medley of 1950s-style honking saxophone numbers. During this fairly complicated, choreographed routine, Rahsaan, assisted by his helper (can't remember his name), decided to join in."
