I know you'll never work with him again. But he can't seem to get it through his head.
Please, a favor to me, not to him. Will you give me your answer while I get him on the phone? I know that you'll never work with him again, and I don't blame you.
Why should you? You've done enough for him already, then, vice versa maybe. The resulting episodic stories are told in flashback style. In each retrospective or narrated flashback, Shields' legendary life is seen through their eyes. In each story, their careers have benefitted from contact with him all of them have found success in their careers , but each of them also suffered a personal price.
Jonathan alienates, seduces, double-crosses, betrays, and nearly destroys each of them, in his own self-seeking, prodigious rise to the top. All rights reserved.
Filmsite: written by Tim Dirks. Search for:. Facebook Twitter. The Bad and the Beautiful Pages: 1 2 3 4. Pages: 1 2 3 4.
Background The Bad and the Beautiful is director Vincente Minnelli's and producer John Houseman's quintessential movie about Hollywood and moviemaking. Film Role. Fictional Prototype s. Film producer Jonathan Shields the "Bad" of the film's title. David O. Selznick whose father was Lewis J. Val Lewton B horror-film producer of Cat People A ctress Georgia Lorrison the "Beautiful" of the film's title, although originally "Bad" herself.
He achieved something many musicians secretly dream about: appearing with Big Bird on Sesame Street. But his crowning achievement was the Fort Apache Band, a group that, from the early s into the s, set a new standard in the cross-pollination of hard bop and Afro-Latin rhythms that transformed American music. Those guys could stop on a dime and turn it around and do anything, float through space and gyrate and levitate.
They really were the most important rhythm section in the history of Latin jazz. They demonstrated the possibilities of what you can do if you have that perfect synergy of good folkloric rhythmic knowledge and the knowledge of jazz harmony, improvisation, and arranging technique. They were the best; that is their legacy. Jerry was born June 5, , Andy eighteen months later on Jan. His uncle had been a musician and later a promoter during the glory years of the big Latin orchestras. Legendary bandleaders—Machito, Tito Puente, Tito Rodriguez, and others—were personal friends of his uncle, with whom he lived from the age of In the late s and early s, he used to have a standard rule.
Other young musicians would hang out too, taking part in listening sessions that would shape the direction of Latin music in New York and the world for generations to come. The rumba, that was of great interest to the young percussionists. And the guaguanco, especially as practiced by Arsenio Rodriguez. The way he structured the music was a revelation.
Before that it was only large orchestras. Andy, Jerry—these guys were my heroes. Although the group had many stellar contributors, at its core were Oquendo on timbales, Jerry on congas, and Andy on bass. Some would later characterize Libre as a forerunner to Fort Apache, but in truth, Jerry was unhappy with the band. He also began devoting more and more time to a musical configuration known as Grupo Folklorico Experimental. In many ways, Grupo Folklorico was a workshop as much as a band.
To those who knew or worked with Jerry at the time, it was clear that he was driving toward something. He had passion and a vast knowledge of what was known commercially as Latin jazz, but he seemed restless. All that he needed was an inciting event.
As so often happens in life, that event was dramatic and in some ways unfortunate: Jerry was fired from Libre. Jerry could be volatile, but he took the firing in stride.
This was the group for which he would later be hailed by the leading lights of jazz as a musical genius. In came Machito and His Afro-Cubans.
If you listen to those records, they would do a straight jazz feel; the conga player is playing, and then when they go into the Latin part there is a complete change in tempo. So there was a clear split. And all of the groups played the same way. They were always Latin. They used the repertoire of jazz, at least their interpretation of it, but the foundation was Latin. Mongo took Afro-Cuban folkloric music and turned it into jazz. But Jerry wanted to go even further. His intention was to demonstrate how clave—the rhythmic root of all Afro-Cuban music—was present in the music of Thelonious Monk, Art Blakey, and other practitioners of hard bop.
At first, Gonzalez flirted with calling his band Hand Drum Control.
Nobody liked that name. The name of the band may have been pro forma, but the music was certainly not. It was a new marriage of Latin music and the jazz tradition. They wanted to be free-form. For many who lived in the borough, the film was an insult, portraying the area solely as a cauldron of criminal activity.
The protests grew, to the point where Jerry seized upon the name. Jerry wanted to show people outside the Bronx that Fort Apache was not negative, that there was beauty in the Bronx and a lot of creativity. Over a year period, the Fort Apache Band transformed the definition of Latin jazz around the world. From an initial conglomeration of 12 musicians, the group was pared down to a core unit: Jerry on trumpet, flugelhorn, and congas; Andy on bass; Steve Berrios on drums; Larry Willis on piano; Carter Jefferson who died in and later John Stubblefield on tenor saxophone; and Joe Ford on alto and soprano saxophone.
Other musicians passed through over the years, but this sextet remained the nucleus. This was perhaps the purest manifestation of its approach, a seamless melding of Afro-Latin rhythms and the quirkiest of bebop. Long gone were the abrupt transitions between the Latin and jazz sections of a tune, as performed by bands going back half a century. With Fort Apache, the music had become one. Latin jazz, perhaps more than any other derivation of jazz, is a communal experience. Especially the way Fort Apache approached it, in hyper-passionate, often transcendent shows that incorporated chants, incantations, and percussive elements deeply rooted in rumba and Afro-Cuban religions.