JB: Now, 'Live in Seattle' I'm not sure when that was recorded. What I mean by that is we were playing the same way all week. I had sat in with 'Trane during the entire week. Because 'Trane stayed with me in Detroit when he first got his band together. And I gave him a map to get to California. At the time he had McCoy Tyner on piano, Steve Davis, I think playing drums and Reggie Workman was playing bass...
In the meantime, before that, several times he'd come through with Miles. We'd hang out, share, talk and discuss music. We traded a lot of ideas. Usually four or five of us saxophone players would get together. It'd be Yusef, Joe Henderson, myself, Cokie Winfrey and 'Trane. And we'd just practice and whatever and share ideas. 'Trane was always absorbing as well as giving. He was very open, and he was also in focus and tell you what he's doing. You asked him what are you doing. He was like learning. In a sense not so much learning but absorbing, we'll say, as much as he was sharing. He was a guy who relentlessly practiced. He practiced six, seven, eight hours a day.
PdeB: So when he came out here, he was staying with you.
JB: A couple of times. Yes. Sometimes he came with bands. When he came with Miles, he stayed with the band or stayed with the hotel. We'd just get together. When he came out with his own band, then he stayed with me.
PdeB: And that was that week at the Penthouse.
JB: Ummmm. No, no, no, no. When I say stayed with me, I'm talking about Detroit.
PdeB: Oh! Okay. I'm sorry.
JB: I do that sometimes too. I'll get on the microphone. Instead of Detroit--even though I call myself staying one year, I don't know if I've ever made the shift yet. It's really kind of strange.
PdeB: So out here how did the session come together?
JB: Oh. The 'Live in Seattle' thing. I think what had happened is that were reading the _____. I had about 10 versions of the Bhagavad Gita. And 'Trane was interested in some of those versions that I had. I never did know really what his background was as far as studying a bit of philosophies and religion, but we started chanting 'Om' one day, at the gig on this 'Om' we were playing. We had two bass players at the time. It was a guy in Chicago. I can't think of the player. He's kind of and avant-guard player too.
PdeB: It's ah...it's ah...oh, and he also had two names.
JB: Right. He had another name too. Played clarinet a little bit. I can't even think of his name. But anyway we-- of course Elvin and Jimmy Garrison. Donald Garrett.
PdeB: There we go. Garrett.
JB: Donald Garrett. We had two bass players, a drummer plus McCoy, 'Trane and myself, and Pharoah Sanders was also on the gig. So, just during the week--I'd pretty much sit in most of that week. He invited me up. Now talking about avant-guard playing, which we were kind of doing at that time; there were sounds at least. And I really didn't know what I was doing. I'm trying to play new. 'Trane said, 'Oh wow! You sound just like we do.' And I said, 'Not to me.' But I did a couple of just my own recordings. I think I may have some tapes somewhere. But I didn't even know that was being recorded for a recording then. So somebody just either took some recordings or did some recordings live at the club.But is was similar to Om. That was done in Woodinville, Washington. It was the only guy, at that time, who had some kind of recording studio. In other words, the big studios that were downtown didn't exist at that time. _____ was looking for a place to record, and I don't know how we found the place. I can't even think of the guy's name.
PdeB: I've talked to him. He lives up in Everett now.
JB: But I think his record was done...
PdeB: Was it Woodinville? I don't know.
JB: It was someplace up in Washington.
PdeB: Or Lynnwood.
JB: Lynnwood! Maybe it was Lynnwood. But he had a little garage or something. He had set up a big room and had all these little mics and stuff. We went out there to record. In fact we rode out in a Chrysler, because I drove out here. My old Imperial. The thing that's kind of interesting, the door had a real loud squeak on it. You open it, errrr. Needed oiling I guess. And 'Trane loved the sound of that squeak. He was thinking at one time to running a microphone out and have somebody just opening and closing that door while we were recording. But we never did it. But somehow he was fascinated by the sound of that door. Errrrr.
Interview excerpt 4